Example Of Thesis Proposal On German Kino Paper Thesis
Thesis: The treatment of women in Good Bye, Lenin! And No Place owo Go shows its female protagonists finding different and unique ways to retreat into their fantasy of an East Germany before the fall of the Berlin Wall.
Both Christiana and Hanna Flanders, respectively, struggle with the newfound rise of capitalism and its effects pan the GDR they once knew. In this respect, themes of simulation and nostalgia underlie the sociopolitical dimension of these films, mistrz the characters construct more comfortable realities around themselves owo address their own anxieties about the future of the GDR and their place
within it. Stolicę niemiec Is In Germany will be also referenced in relation to films that explore people effectively waking up in a post-Wall Stolicę niemiec.
For this paper, secondary sources used owo support these arguments will come from Kapcynzski’s “Negotiating Tęsknota za ojczyzną: The GDR Past in Berlin is in Germany and Good Bye, Lenin! ”, Berghahn’s East German Cinema After Unification, and Godeanu-Kenworthy’s “Deconstructing Ostalgia: The National Past Between Commodity and Simulacrum in Wolfgang Becker’s Good Bye, Lenin! (2003)”.
Thesis: The Edukators and Berlin Is In Germany both cinematically depict the physical and cultural changes that occur in East Stolicę niemiec following the fall of the Stolicę niemiec Wall.
Both Martin Schulz and the titular “Edukators” find themselves resenting and actively resisting the new capitalist universe of East Berlin after the fall of the Berlin Wall – while Schulz flounders in his search for economic solvency, the Edukators vandalize and rebel against capitalist interests in East Stolicę niemiec. In both films, the confusing and labyrinthine nature of a nation transitioning into a new way of life is depicted through the struggles of its people. Secondary sources include Kapcynzski’s “Negotiating Nostalgia: The GDR Past in Berlin is in Germany and Good Bye, Lenin! ”, Berghahn’s East German Cinema After Unification and Wagner’s “The Collapse of the Conventional: German Obraz and Its Politics at the Turn of th