Film Archive

Countries (Film Archive)

DEFA Matinee 2018
Der Elefant von Hoyerswerda Christian Lehmann

In his diploma film, Christian Lehmann follows a construction project in Hoyerswerda, where a residential quarter is built for the employees of the “Schwarze Pumpe” gas state combine.

Der Elefant von Hoyerswerda

Documentary Film
GDR
1959
15 minutes
subtitles: 
_without dialogue / subtitles

Credits DOK Leipzig Logo

Deutsche Hochschule für Filmkunst (DHF), Potsdam-Babelsberg
Christian Lehmann
Christian Lehmann
In his diploma film, Christian Lehmann follows a construction project in Hoyerswerda, where a residential quarter is built for the employees of the “Schwarze Pumpe” gas state combine. We see buildings being assembled and facades scaffolded; we watch crane operators, bricklayers and carpenters on the site in summer. Lehmann, who had studied photography at the Leipzig Academy of Fine Arts before he began to study cinematography, comes up with impressive visual compositions. Influenced by the Soviet cinema of the period of Khrushchev’s Thaw, especially the works of Sergey Urusevsky, he also develops a dynamic and sensual style of camera-work.

Ilka Brombach
DEFA Matinee 2018
Imbiß Thomas Heise

In 1954, the “Automat Imbiss” opened on Alexanderplatz in East Berlin. Featuring slots from which you picked the dishes after inserting coins, it conformed to the notions of modernity and future of the time.

Imbiß

Documentary Film
GDR
1978
5 minutes
subtitles: 
_without dialogue / subtitles

Credits DOK Leipzig Logo

Hochschule für Film und Fernsehen (HFF), Potsdam-Babelsberg
Thomas Heise
Dagmar Mundt
In 1954, the “Automat Imbiss” opened on Alexanderplatz in East Berlin. Featuring slots from which you picked the dishes after inserting coins, it conformed to the notions of modernity and future of the time. Twenty years later, when Thomas Heise shoots his film, the Imbiss has long since lost its model character. Heise documents the daily routine in a matter-of-fact style: preparing mince meat, drawing drinks, collecting dirty dishes. Women from the East Berlin lower classes work here, endlessly repeating the same tasks and having cigarette and beer breaks.

Ilka Brombach
DEFA Matinee 2018
Montagebrüder Gerd Wille

The film documents the living conditions of assemblers at the “Nordlicht” natural gas pipeline, one of the mega-projects of the Council for Mutual Economic Assistance (Comecon).

Montagebrüder

Documentary Film
GDR
1973
23 minutes
subtitles: 
No

Credits DOK Leipzig Logo

Hochschule für Film und Fernsehen (HFF), Potsdam-Babelsberg
Gerd Wille
Lutz Körner
Gudrun Seelig
The film documents the living conditions of assemblers at the “Nordlicht” natural gas pipeline, one of the mega-projects of the Council for Mutual Economic Assistance (Comecon). Many East Germans worked on its construction, lured by good pay and hopes of a less strictly regulated life. What Gerd Wille and his cinematographer Lutz Körner find, however, are bad supply and sanitary conditions, lack of leisure facilities and general discontent. Because the film did not comply with the official image of the worker it was never approved and disappeared in the archive until 1990.

Ilka Brombach
DEFA Matinee 2018
Susis Schicht Petra Tschörtner

For her first student film, Petra Tschörtner went to a factory of the VEB (Publicly Owned Corporation) Combine Secondary Raw Material Collection (SERO), which was part of the East German waste industry.

Susis Schicht

Documentary Film
GDR
1978
7 minutes
subtitles: 
_without dialogue / subtitles

Credits DOK Leipzig Logo

Hochschule für Film und Fernsehen (HFF), Potsdam-Babelsberg
Petra Tschörtner
For her first student film, Petra Tschörtner went to a factory of the VEB (Publicly Owned Corporation) Combine Secondary Raw Material Collection (SERO), which was part of the East German waste industry. A consistent observation, the film follows a young worker through her shift, shows mountains of used paper (especially the “Neues Deutschland” daily every member of the SED had to subscribe to) being handled and shredded. You see workers, many of them women, performing simple and strenuous tasks and suspect that they belong to the lower margins of GDR society. A sensitive camera registers details of facial expressions and postures, revealing how here, too, women are subject to a hierarchy.

Ilka Brombach
DEFA Matinee 2018
Trompete, Glocke, letzte Briefe Peter Kahane

In Peter Kahane’s documentary “red” Berlin comes alive as a proletarian family story reaching from the 1910s to the resistance against National Socialism.

Trompete, Glocke, letzte Briefe

Documentary Film
GDR
1978
20 minutes
subtitles: 
No

Credits DOK Leipzig Logo

Hochschule für Film und Fernsehen (HFF), Potsdam-Babelsberg; Fernsehen der DDR
Peter Kahane
Hansjoachim Sommer
Helga Wardeck
Peter Kahane
In Peter Kahane’s documentary “red” Berlin comes alive as a proletarian family story reaching from the 1910s to the resistance against National Socialism. The siblings of the communist Ernst Knaack, who was executed in 1944, talk about their grandparents’ pub, which was frequented by leading members of the Communist Party of Germany like August Bebel and Hermann Duncker. The film doesn’t glorify its interviewees but seeks them out in their everyday environment and lets them speak about the few surviving souvenirs from that time – the trumpet of the Rotfrontkämpferbund (Alliance of Red Front-Fighters), the bell with which meetings were opened, and their brother Ernst’s last letters from the Sachsenhausen concentration camp.

Ilka Brombach
DEFA Matinee 2018
Wolters Trude Gabriele Denecke

Gabriele Denecke portrays a 74-year-old woman who lives a humble life in a village in Brandenburg and tells her story.

Wolters Trude

Documentary Film
GDR
1978
28 minutes
subtitles: 
No

Credits DOK Leipzig Logo

Hochschule für Film und Fernsehen (HFF), Potsdam-Babelsberg; Fernsehen der DDR
Gabriele Denecke
Eberhard Geick
Karin Geiß
Gabriele Denecke
Gabriele Denecke portrays a 74-year-old woman who lives a humble life in a village in Brandenburg and tells her story: born in Rastenburg, East Prussia, in 1904, she grew up in an orphanage after her mother died, married early, had eight children, six of whom survived. Documenting a woman’s fate, the film is both oral history and women’s history. It also plays with the possibilities of the medium, combining the interviews with dreamlike re-enactments that visualise what couldn’t come true because of social or gender conditions.

Ilka Brombach