Mothers, Comrades, and Outcasts in East German Women's Film

Mothers, Comrades, and Outcasts in East German Women's Film

Jennifer L. Creech
Distribution: World
Publication date: 08/08/2016
Format: Paperback 35 b&w illus.
ISBN: 978-0-253-02301-8
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Mothers, Comrades, and Outcasts in East German Women's Film merges feminist film theory and cultural history in an investigation of "women’s films" that span the last two decades of the former East Germany. Jennifer L. Creech explores the ways in which these films functioned as an alternative public sphere where official ideologies of socialist progress and utopian collectivism could be resisted. Emerging after the infamous cultural freeze of 1965, these women’s films reveal a shift from overt political critique to a covert politics located in the intimate, problem-rich experiences of everyday life under socialism. Through an analysis of films that focus on what were perceived as "women’s concerns"—marital problems, motherhood, emancipation, and residual patriarchy—Creech argues that the female protagonist served as a crystallization of socialist contradictions. By framing their politics in terms of women’s concerns, these films used women’s desire and agency to contest the more general problems of social alienation and collectivism, and to re-imagine the possibilities of self-fulfillment under socialism.

Author Bio

Jennifer L. Creech is Associate Professor of German at the University of Rochester, where she is Affiliate Faculty in Film and Media Studies, and Associate Faculty at the Susan B. Anthony Institute for Gender and Women’s Studies. She is editor (with Thomas O. Haakenson) of Spectacle. Her research and teaching interests include late 20th-century German literature, film, and culture; cinema studies; and Marxist and feminist theories.


Mothers, Comrades, and Outcasts in East German Women’s Film provides new readings on East German women’s films and raises important questions about the cross-border continuities of feminist discourse played out on East German cinema screens. ”
 — Modern Language Review

“Overall, Creech practices a form of critical film analysis that also attends to aesthetic and formal aspects. She combines thorough and insightful analysis with a rich catalogue of intertextual references to other films. The book is relevant for scholars and students of women's studies, film studies, and GDR studies.”
 — German Studies Review

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Table of Contents

Note on Translation
Introduction: Rescuing History from the Ruins
1. Happily Ever After? The Emancipatory Politics of Female Desire in Lot’s Wife
2. The Lonely Woman? (Re)production and Female Desire in The Bicycle and On Probation
3. Pleasure in Seeing Ourselves? All My Girls
4. Real Women: Goodbye to Winter and the Documentary Women’s Film
Conclusion: After the Fall
DEFA Filmography

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