Abstract
This article focuses on four 'Event Movies' from the German production company teamWorx on the subject of the National Socialist past: Stauffenberg (2004), Dresden (2006), Nicht alle waren Morder (2006) and Die Flucht (2007). It investigates and analyses the films' different methods of approaching authenticity through their filmic and extra-filmic devices and explores their use of melodrama in representing history. Finally, it questions how this amalgamation of serious history and melodrama affects the ability of the films to come to terms with the National Socialist past, and how this strategy fits into the context of contemporary Vergangenheitsbewaltigung.
Highlights
This article will focus on Event Movies teamWorx has produced dealing with the National Socialist past
The final Event Movie to be dealt with is Die Flucht (2007), a two-parter portraying the plight of expellees from the East at the end of the Second World War, focusing on the character of Lena Gräfin von Mahlenberg, who is forced to leave her family home in East Prussia during the final stages of the war
This article represents an important step in dealing with such a wide range of Event Movies and detailing in depth the attitudes of the teamWorx film-makers
Summary
This article will focus on Event Movies teamWorx has produced dealing with the National Socialist past. Perhaps one of teamWorx’s best-known Event Movies, and one which typifies the company’s combination of history and melodrama, is the two-parter Dresden, which simultaneously depicts the Allied bombing of the city in February 1945 and a love story between the German nurse Anna Mauth and British bomber pilot Robert Newman.
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