This paper aims to present an overview of how German filmmakers
have approached the subject of "Vergangenheitsbewltigung," that is
the coming to terms with the Third Reich, in film and how this has
evolved over the decades since the end of the war. The first
chapter will consult the first German film to be made after the
war: Wolfgang Staudte's 1946 film "Die Mrder sind unter uns"
(released as "The murderers are among us" in the UK). The second
chapter will look at Rainer Werner Fassbinder's 1981 work "Lili
Marleen" (released under the same name) as an example from the end
of the New German Cinema movement. The third chapter will then
focus on contemporary German film making using Oliver
Hirschbiegel's 2004 work "Der Untergang" (released as "Downfall" in
the UK) as its main focus point. Outlining the political and
economical background in which these films were produced, we will
question the aims of these filmmakers and compare the key
differences in historical representation in German film making in
order to discuss whether greater historical distance did in fact
lead to greater historical accuracy and therefore to a coming to
terms with history in the discussed films.
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