Page 216 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945
P. 216

resemblance  to  the  directors  father  and  the  Heimatfilm  killer  of Rob  and  Betty's  beloved  corps
                                      being most pronounced.
                                         But  there  is,  perhaps,  a  further  historic  reference  going  on  here:  the  term  'rabbit  films'  0
                                      Kaninchenfilme being the  collective noun  for the twelve  films  that were  banned in  East Germany in
                                      1965. These were films rhat were felt to be too sceptical, nihilistic, relativistic or subjective to conform
                                      to statist ideology. As Sabine Hake puts it:


                                        The  directors'  failure  or  unwillingness  to  develop  a  dialectical  conception  of  reality,  the
                                        argument went,  had  resulted  in  stories,  images  and,  perhaps  most importantly,  dispositions
                                        and attitudes that were irrelevant, if not detrimental to the self-definition of G D R society. [The
                                         move]  forced  filmmakers  to retreat to uncontroversial topics and conventional treatments."'


                                      Quite apart from  its capacity to  shock, what is  most extraordinary about the  rabbit sequence is the
                                      fact that it is replayed, and replayed backwards, in the closing sequence of the  film,  as Rob ejaculates
                                      blood  and  semen  on  his  bed  of death.  The  rabbit  once  dismembered  is  literally put  back  together
                                      again. The trauma that lay deep in Rob's past is exorcised in death: 'what has been destroyed is now-
                                      restored; old wounds heal and bad things turn good again.' 17 A n d once more, of course, we are there
                                      to look upon the process.
                                        The  Nekromantik  films  of Jorg  Buttgereit,  shocking  in  subject  matter,  unflinchingly  visceral  in
                                      their portrayal of sex and death,  are evidently important works of recent German cinema. Taking as
                                      their premise the horrors of a past prematurely buried,  they work to expose the complicity of the film
                                      medium  in  acts  of ideological  manipulation  of the  subject and,  in  turn,  point  to  the ways  in which
                                      that medium can bring about a re-sensitisation to the horrors of the past. They do so, moreover, with
                                      wit that is both suitably mordant and perversely life-affirming.  No wonder they have been so widely
                                      banned.

























                                                                         202
   211   212   213   214   215   216   217   218   219   220   221