Abstract
Karl-Heinz Käfer's film Lippels Traum (1990) foregrounds the question of Muslim identity in German cinema shortly after reunification. This article examines the film with the aid of the topos of the Orient and typical elements of Oriental fairy tales in Germany, revealing the significance of children's films in the discourse on social diversity in the early 1990s in Germany. Children's films in the context of German culture are an underexplored research area. Their examination yields critical results regarding the broader tradition of German film as well as notions of Germanness after the Wende and how audiences consumed non-Western identities at a time of social change.
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