Abstract
ABSTRACTThis article analyses the negotiation of German identities in two films of the ‘newer German cinema’: Sonnenallee/Sun Alley and Schultze Gets the Blues. It argues that the former represents a defiant stance towards a dominant West German narrative that devalorizes the lived experiences of former GDR citizens. As a consequence, East and West are consolidated as relevant categories of identification. In contrast, the article argues that Schultze Gets the Blues represents a post-national tendency in newer German cinema, which dissolves the East-West axis and instead foregrounds regional and post-national identities.
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