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The more time he spends listening in on them, the more he comes to care about them. The once rigid Stasi officer begins to intervene in their lives, in a positive way, protecting them whenever possible. Eventually, Wiesler's activities catch up to him and while there is no proof of wrongdoing, he finds himself in menial jobs - until the unbelievable happens. Written by garykmcd. East Berlin, November Five years before its downfall the GDR seeks to maintain its power with the help of a merciless system of control and observation.

When Oberstleutnant Anton Grubitz puts loyal Stasi-Hauptmann Gerd Wiesler on to the famous writer Georg Dreymann and his girlfriend Christa Maria Sieland who is a famous actress herself, he expects career advancement for himself. For most important politicians are responsible for this "operative act". What Wiesler did not expect: the intimate view on the world of the ones he's observing changes the snitch as well. Looking at "the life of the others" makes him aware of the beggarliness in his own life and enables access to a so far unknown world of love, free thinking and speaking he is hardly able to elude.

But the system can't be stopped anymore and a dangerous game, which destroys the love of Christa Maria Sieland and Georg Dreymann and Wieslers present existence begins. Until the fall of the wall each of them has paid a big price. After that a whole new world begins.

My personal opinion - though it doesn't count that much - is that this one a an absolute Must See. I can hardly remember such an intelligent and moving German movie especially not including the whole topic of GDR history and the dealing with it. I think this is the first German movie which shows this system as it used to be which has been confirmed by several contemporary witnesses and not turns it and its people into comedy though there have been several good ones, of course.

Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! IMDb More. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. In East Berlin, an agent of the secret police, conducting surveillance on a writer and his lover, finds himself becoming increasingly absorbed by their lives.

Director: Florian Henckel von Donnersmarck. Writer: Florian Henckel von Donnersmarck. From metacritic. German movies I have seen. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Top Rated Movies 58 Won 1 Oscar. Learn more More Like This. Life Is Beautiful Comedy Drama Romance.

Old Boy Action Drama Mystery. Comedy Romance. The Hunt American Beauty Cinema Paradiso Memento Mystery Thriller. A man with short-term memory loss attempts to track down his wife's murderer. Das Boot Adventure Drama Thriller. Amadeus Biography Drama History. Stars: F. Until very recently, the dominant assumption among historians and scholars of neighbouring disciplines was that sexology existed as a medical field of knowledge that was clearly understood as such by its contemporaries.

This included dialogue with patients, efforts to educate the public about sexual matters, and the discussion of sexological matters in magazines and popular journals.

False Friends - gleiche Wörter DE/EN, andere Bedeutung

Magnus Hirschfeld — was one of the most influential sexologists, and one whose work took place at the intersection between science and sexual rights. With the end of the First World War, the abolition of monarchy, the proclamation of the new Republic on 9 November , the following months of political upheaval, and also the promise of a reformed Penal Code, Hirschfeld and his allies saw a chance to once again rally against the paragraph. There were 3, cinemas across the country. One million people went to the cinema every day. This intention to publicise science to educate the public is tightly linked to the circumstances of modernity.

The increasing reliance on science in all aspects of life yielded hopes about a modernised future. But the difference in knowledge between scientific experts and lay people also triggered scepticism and mistrust in a modernised world that relied on scientific knowledge without fully understanding it.

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Popular science attempts to establish communication between experts and the rest of society. Publicising sexological knowledge is not unique to Hirschfeld's engagement with film, but is in line with his previous work to bridge the gap between experts and laypeople.

In his publication Berlins drittes Geschlecht Berlin's Third Sex , Hirschfeld takes his readers on a journey through Berlin's third sex subcultural scene. The series included sociological studies of fringe and marginalised groups that were otherwise not available to study and was praised by social scientists, as well as enjoying general popularity.

In the foreword, Hirschfeld explains his reasons for writing a book for a general audience:. While the results of my research into the field of homosexuality have only been published in specialist journals to date … it has long been clear to me that knowledge of an area that is intertwined with the interests of so many families, of every class, would not and could not remain forever confined in the closed community of specialists or academic circles. Here, Hirschfeld's argument reflects the fundamental premise of his sexological work. If sexual diversity is a fundamental part of all human life, regardless of dividing categories such as class, then everyone should have access to adequate information and education about sexual matters, free from stigma and prejudice.

This is what Hirschfeld also claims for film in his speech cited at the beginning of this article. Here, the audience witnesses two scenes of third sex spaces. Throughout his career, he was keen to collect statistics about the prevalence of homosexuality.

Conclusion: Let there be light!

Although exact numbers cannot be stated for certain, Hirschfeld is said to have collected over 40, completed questionnaires. Despite the obvious shared goals of Berlin's Third Sex and Different from the Others , however, the turn towards film had unforeseen consequences. To begin with, the timing of Hirschfeld's interest in film created a particular context for the topic of sexual intermediacy that distracted from the film's goal to arouse pity for the plight of homosexuals. Proponents of the social hygiene movement soon realised that film could be enlisted to reach the public in new ways, beyond the use of pamphlets and lectures.

This film genre was then picked up in Germany during the interwar years. Under Oswald's direction, hygiene films took on a unique shape. In Oswald released Es werde Licht! Let There Be Light! During the production of Es werde Licht! Oswald produced several sequels for the film.

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  8. The technical advisor for Parts 2 and 3 both lost was Iwan Bloch, who, together with Hirschfeld, is considered one of the founders of sexology. The topic of homosexuality in Different from the Others , however, is at odds with other titles that form part of Oswald's social hygiene oeuvre. Topics such as syphilis, in which people became acutely aware of the prevalence of syphilis among soldiers and its dire consequences for the health of the nation especially in during the context of the ongoing war, as well as topics such as motherhood and sex work, were seen as issues in need of a broad though appropriately mature audience.

    He sees its presentation in film format justified, because such issues of normal sexual life concern all human beings. This was contrary to Hirschfeld's aims. Moreover, opinions on the naturalness of homosexuality were far from unified. Hirschfeld's argument that homosexuality could not be criminalised because it occurred naturally and was therefore part of normal variation were radical and considered controversial by many. For the Kinoreformer , cinema had the potential to educate the public and thereby serve a pedagogical purpose.

    Different from the Others was ultimately censored and its audience severely restricted. In Germany, censorship had been officially abolished in While in theory this guaranteed full freedom of expression to the arts and sciences, in practice accusations of blasphemy and obscenity could still lead to criminal prosecution. Various attempts to have the film banned in the northern regions of Germany failed, but in the southern regions censorship was more readily used, based on laws prohibiting obscenity.

    This ultimately limited the reach of the film and thwarted its primary aim to reach a broad audience. This shift in context, which came about when Hirschfeld's sexual rights activism was presented in the form of film, also profoundly influenced other sexological aims. Men appear in dresses, dancing with other men in historical costume, two women are dressed in shirts, suits and braces, and various figures appear deliberately androgynous or cannot be read as clearly male or female.

    The lush costumes worn by the dancers make elaborate pageantry a key feature of queer experience. Even if these images are not, in themselves, necessarily explicit, the context spoke for itself. At the ball.

    Apocalypse without Kingdom

    Richard Oswald, Anders als die Andern , The exuberant depiction of subcultural life could be understood as an attempt to put into visual form something that Hirschfeld also explored in Berlin's Third Sex. The ease with which one can sink unseen into a city of two and a half million inhabitants greatly facilitates the dual personality so often found in the sexual arena. The professional self and the sexual self, day self and night self are often two utterly distinct personalities in one body, the one proud and honourable, most noble and conscientious, the other its antithesis.

    This applies to homosexuals as well as the normally sexed. Here, he is soon flanked by two women who pull him towards them and kiss him. The visual parallel between the scenes also draws attention to the eroticism of the ball scene, which shows people in physical contact with one another and dancing cheek to cheek. If we view Different from the Others in the context of Hirschfeld's previous work, which sought to educate the public about matters pertaining to human sexuality and to show that scientific education opens the way to a fairer and more just society, Hirschfeld's turn towards film can be understood not so much as a turn towards the visual, but a further step into the popular.

    Yet, when this popular science agenda is translated into the visual medium of film, it takes on a life of its own. In this context, it appeared more scientifically controversial and politically risky than previous films of this genre, and the foremost aim of wide dissemination was ultimately thwarted by censorship.

    This discussion of the challenges of translating a popular science programme from the written text to the screen is not to say that Different from the Others is a failed film project, or that Hirschfeld misunderstood the medium of film. Rather, it highlights the complexity of this new medium, which may have been chosen by Hirschfeld to popularise his scientific views, but which altered intended aims in unexpected and contradictory ways. In Different from the Others , we do not exclusively encounter representatives of the third sex in the metropolitan underworld of queer costume balls and bars.

    The film also employs a more common strategy of representing the third sex as noble and virtuous. Some of the historical figures mentioned in Different from the Others had already been featured in Hirschfeld's earlier writing. He praised Freud's essay on Leonardo da Vinci, despite its critical take on his own sexological theories.

    Women, too, were not entirely excluded from this lineage: one of Hirschfeld's very first publications paid tribute to Sappho. Similarly, the German psychiatrist and influential sexologist Albert Moll, who advocated for apolitical and impartial science, mentioned Ludwig II in a chapter on historical homosexuals.

    Reference to historical homosexuality served one very specific purpose: to use the historical existence of sexual intermediates to justify the existence of sexual intermediacy in the present and to give hope for a future of tolerance and acceptance.

    Capitalization in German

    Any production of identity categories across time is necessarily teleological. After all, as Doan goes on to argue, not everyone in the early twentieth century understood themselves in terms of identity categories such as homosexual or heterosexual. The challenge, as Doan sees it, is to account for forms of experience in the past that cannot be clearly mapped onto contemporary identity categories.

    On the face of it, Different from the Others seems fully committed to an effective history of ancestral genealogy. The historical scene in Different from the Others paints a picture of the homosexual as extraordinary and productive in order to visualise a proud ancestry that counteracts gay shame.

    This line of historical men serves as a decorous kind of Pride Parade, which emphasises the creativity and productivity of noble homosexual men in order to directly counter the shame associated with homosexuality. Homosexuality, here, becomes the distinguishing trait of extraordinary men, a badge of honour and respectability. This historical parade also serves to depict the lineage of homosexuals not as an anonymous mass, but as a number of individuals, to show the extent of harm done by homophobia, and to ask for compassion and pity.

    Neatly lined up in a procession, homosexuality is here presented as a stable identity in a lineage that can be directly traced through the ages and across cultures. But the formation of homosexual kinship as procession serves its own purpose. The homosexual procession simultaneously resembles a coronation, a military parade, a religious service or a funeral procession. All, of course, support the film's plot and its sexological message in some way. Whereas depictions of religious or military events are not unusual in films from the s, this procession in single file stands out.