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Popular German Science Fiction Film and European Migration

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New Perspectives on Contemporary German Science Fiction

Part of the book series: Studies in Global Science Fiction ((SGSF))

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Abstract

This chapter examines German-language science fiction cinema’s engagement with the migration debate. The topic of migration and the refugee crisis have not only been central to public and political debates, but they have also become an important narrative in popular culture discourses. This is also true for German SF films that shifted focus to the handling of migration flows and their consequences for the future. SF is well-suited to political commentary; by narrating the present as the past and envisioning its consequences for the future, the resulting scenarios have the capacity to reflect and often engage directly with specific aspects of current political discourses. Yet, despite these ambitions to insert themselves into the political debate, SF films navigate within a complex matrix of transnational film industry practices, commercial concerns, contradictory audience expectations, and tastes that have been shaped by global mainstream cinema. To appeal to these tastes, conventional narrative patterns and aesthetics often dominate. This chapter discusses three current SF films; the analysis pays special attention to questions of narrative perspective, spectator address, and the use of popular genre conventions to illuminate the filmmakers’ position within the political discourse.

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Notes

  1. 1.

    The film festival’s tagline is ‘100% German Genre Cinema’, and it provides a platform for the promotion and exhibition of German genre films including horror, science fiction, fantasy, thriller, noir, and mystery films, productions which, according to the organizers, are normally excluded from mainstream cinemas and television. See the Genrenale website for more detail.

  2. 2.

    Tom Toelle’s Das Millionenspiel was an adaptation of US author Robert Sheckley’s ‘The Prize of Peril’, a short story published in 1958 about the hunt of an individual, broadcast live as part of a reality TV show (Sheckley, 1958). The French production Le prix du danger (Boisset, 1983) is a second European adaptation of the same story. Another film with a similar plot is Running Man (Glaser, 1987); set in a dystopian USA in 2019, convicts are forced to participate in a televised game show, run and fight for their lives. The film is an adaptation of Stephen King’s novel of the same title (published in 1982 under the pseudonym Richard Bachman), both in terms of its plot as well as its political commentary. For a very illuminating analysis of the dystopian elements and political critique in the source novel and the film, see Mann (2017).

  3. 3.

    The Genrenale website clearly delineates its program from more conventional cinema which it describes as “social realist and melodramatically moralizing cinema immune to criticism, […] formulaic romantic comedies and lifeless anesthetizing television fare with always the same faces.” (“gegen Kritik imprägnierten sozialen Realismus und melodramatisches Betroffenheitskino, […] normierte romantische Komödien und herzschlagloses Betäubungsfernsehen mit den immer gleichen Gesichtern”) (Genrenale, 2019).

  4. 4.

    Examples illustrating this trend are the Netflix production Dark (Bo Odar and Friese, 2016–20) and the Tatort episodes Im Schmerz geboren (Born to Pain; Schwarz, 2014) and Fürchte dich (Be Afraid; Fetscher, 2017) which experiment with elements of the Western and horror genres respectively.

  5. 5.

    Recent examples for films with limited funding that were not international co-productions are the SF-film Boy 7 (Yildirim 2015) or the zombie film Endzeit (Ever After; Hellsgard 2018). German popular genre film has not received much scholarly attention, but there have been some important studies on genre and popular film in German cinema, for example, Halle and McCarthy (2003), and Fisher (2013). In recent years, film scholars have studied popular cinema within a broader European context and focused on transnational industry practices and cultural flows that shape cinematic landscapes and European popular cinemas, cf. Ritzer and Steinwender (2017); Meir (2019).

  6. 6.

    For more detailed analyses of European cinema in general and European popular cinema, see Bondebjerg et al. (2015, 1–14), Bergfelder (2015, 33–58), Harrod et al. (2015), Mitric and Sarikakis (2016), and Steinwender and Zahlten (2017).

  7. 7.

    After the New Year’s Eve party in Cologne, hundreds of women reported to the police that they had been sexually assaulted. Many described the appearance of their unknown attackers as ‘north African’, ‘southern’, or ‘Arabic’ (cf. Arendt et al. 2017).

  8. 8.

    They have often found expression in the polarizing debates between ‘Gutmenschen’ (‘do-gooders’), a pejorative term describing overly naïve people sympathetic towards refugees, and ‘Wutbürgern’ (‘angry citizens’), an equally negative term for people who openly and consistently protest against political decisions, in this context, against the welcoming of refugees in 2015.

  9. 9.

    In both popular as well as critical discourses on German science fiction, often the term ‘speculative fiction’ is used, a phenomenon which speaks to the traditional distinction in German culture between mainstream and art house film and the association of SF with popular mainstream genres. This also ties in with Sherryl Vint’s (2014) examination of the term ‘speculative fiction’ which in the evolution of the genre has often been used for aesthetically complex and socially engaged texts that challenge or critique discourses. See also interviews with Krystof Zlatnik (2017) or Özgur Yildirim (Armknecht 2015).

  10. 10.

    For more on the bleak dystopian tradition in Germany, see Ingo Cornils’ chapter in this volume.

  11. 11.

    For a detailed discussion of Dark, see Juliane Blank’s chapter in this volume.

  12. 12.

    See Mueller (2018) for a discussion of demographic change in SF film.

  13. 13.

    For a detailed case study that illuminates cross-cultural and transnational mechanisms of European popular SF cinema, see Mueller (2019).

  14. 14.

    International and domestic crime fiction has always been popular with German audiences. The longevity of the crime TV series Tatort (1970–) and Polizeiruf 110 (1971–) is only one example for the enduring popularity of the genre, which over the last decades has been further driven by the success of Nordic Noir in literature and television. According to Kniesche (2019, 15), crime fiction accounts for at least one third of the German literature market with a similar reach of the genre in other media.

  15. 15.

    English translations, unless otherwise noted, are mine.

  16. 16.

    According to social psychologists, empathic behavior is influenced significantly by cultural and social factors, and empathy towards others is strongest between members of the same social group and diminished if the other does not belong to the ingroup. Three interacting processes are at work in producing empathy: emotional sharing, perspective taking, and empathic concern. Researchers also found that perspective taking and the re-categorization of groups can counteract the consequences of intergroup empathy bias (Fourie et al. 2017, see also Riess 2017).

  17. 17.

    AiU is co-produced by a South African company (Two Oceans Productions) and partly funded by South African funding channels (Department of Trade and Industry, National Film and Video Foundation), so it can be assumed that the decision to set the story in South Africa is mainly due to financial, film-economic, and practical rather than narrative considerations.

  18. 18.

    For analyses of the criminalization of the immigration process, see, for example, The Criminalization of Migration, a collection of articles on the topic edited by Idil Atak and James C. Simeon (2018), in particular the introduction (Atak and Simeon, 3–33), and Gleeson (2018, 340–66) for an account of increasing ‘crimmigration’ in Europe, also Austin (2019, 251f.).

  19. 19.

    The film opens with the following statement: “Europe has closed its borders to millions of refugees. Only Germany offers citizenship if you survive the TV show Immigration Game. In the game every German citizen can kill you to score points and money. No firearms are allowed. Every day dozens of refugees try to win the game.”

  20. 20.

    ‘Biodeutsche’ describes Germans without any non-German heritage or family background. It is a term that is used in different and contradictory ways in often colloquial German, at times used discriminatorily to exclude non-white Germans from a notion of who belongs to ‘the Germans’, in other contexts the term ridicules exactly this exclusionary and mainly racist idea of Germanness.

  21. 21.

    Both films had limited runs in cinemas and according to the Lumiere data base of the European Audiovisual Observatory, ticket sales at cinemas remained below 2000.

  22. 22.

    See for example the comment section of Balzer’s (2017) review of the film in Die Zeit. Some commentators praised the film’s courage, others were unhappy with visual qualities (e.g., “cheap imitation of The Purge II”) or questioned the film’s intention (e.g., “unacceptable, that this race baiting piece is left uncommented”; “just sick, this idea with the refugees; people stop at nothing trying to set themselves apart from the competition”).

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Mueller, G. (2022). Popular German Science Fiction Film and European Migration. In: Schmeink, L., Cornils, I. (eds) New Perspectives on Contemporary German Science Fiction . Studies in Global Science Fiction. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-95963-0_3

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