Film Archive

Countries (Film Archive)

[Demonstration in Dresden am 22. Januar 1990; Besichtigung in Dresdener Stasi-Objekt] [Ausschnitt]

Documentary Film
GDR
1990
15 minutes
subtitles: 
No
Credits DOK Leipzig Logo
anonymous
An amateur film document in the midst of the political and social changes that were demanded, desired or feared since the opening of the inner-German border in November 1989. The uncertainty of that time seems to operate the filmmaker’s camera: shot from an awkward angle, trying to get a clear view but inexperienced and as yet unable to create a comprehensive picture, the speakers are to be captured on stage between banners and flags. There, prominent speakers explain their interpretation of the past and, to the enthusiastic applause of their listeners, make demands for the political design of the immediate future.

Konstantin Wiesinger

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

[Kolloquium Ausstellung „Zeitzeichen. Stationen Bildender Kunst in NRW“ am 11. November 1989 in Leipzig] [Ausschnitt]

Documentary Film
GDR
1989
28 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Stadtkabinett für Kulturarbeit Leipzig
Stadtkabinett für Kulturarbeit Leipzig
On the occasion of an exhibition at the Museum of Fine Arts in Leipzig shortly after the fall of the Berlin Wall, a panel of renowned artists and art mediators in the GDR talk about the mutual pervasion of art and society in the GDR and the FRG. Among the panellists are the painters and professors Arno Rink and Wolfgang Mattheuer, both spokesmen for the Leipzig School renowned beyond the borders of the GDR, and Erhard Frommhold, publicist and former chief reader of Verlag der Kunst in Dresden. The interviewees reflect on their own biographies and attempt to give an outlook on the freedom of art under the auspices of the free market.

Konstantin Wiesinger

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Brücke über den Strom

Documentary Film
GDR
1969
21 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Amateurfilmclub Frankfurt an der Oder
Manfred Kern
Detlev Mohr
Manfred Kern
The border town of Frankfurt on the Oder is portrayed as symbolising central issues of a design of society and the state under socialist auspices. The division of labour in the assembly line production at a semiconductor plant testifies to the transformation from agricultural to industrial economy. Anyone living in the GDR was expected, according to its self-conception as a civic collective, to contribute to this progress by a disciplined, committed and, for women, emancipated lifestyle. In foreign policy, the workers’ and peasants’ state stood for reconciliation with its Eastern neighbour, Poland. The collaboration of Polish and German female workers in the semiconductor plant illustrates this mission.

Konstantin Wiesinger

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Rowdys … werden nicht geboren, sondern erzogen! Nach Tatsachenmaterial hergestellt von einem Kollektiv des VPKA Leipzig

Documentary Film
GDR
1958
14 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Amateurfilmkollektiv der Volkspolizei Leipzig
Amateurfilmkollektiv der Volkspolizei Leipzig
The so-called “Rowdies” youth movement is portrayed in the style of wanted posters, using police photos and collage-like condensations of typical characteristics. Various scenes are used to illustrate the danger to society these youngsters represent. The text title “… that’s how it ends” demonstrates clearly the consequences of the behavioural problems depicted: criminal prosecution by the police and the judiciary. This is accompanied by pictures of the alleged masterminds and backers: contemporary FRG politicians. The film releases its audience with an appeal to the public headed by slogans like “education”, “work” and “structure”.

Konstantin Wiesinger

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.