Trümmerfilm

Trümmerfilm (Template:Lang-eng) was an aesthetic choice for those films made directly after World War II dealing with the impact of the battles in the countries at the center of the war. The style was mostly used by filmmakers in the rebuilding film industries of Eastern Europe, Italy and the former Nazi Germany. The style is characterized by its use of location exteriors among the "rubble" of bombed-down cities to bring the gritty, depressing reality of the lives of the civilian survivors in those early years.

Notable films

• Die Mörder sind unter uns (1946)
• Irgendwo in Berlin (1946)
• In jenen Tagen
• Ehe im Schatten (1947)
• ... Und über uns der Himmel (1947)
• Zwischen gestern und morgen (1947)
• Film ohne Titel (1947)
• Straßenbekanntschaft (1948)
• Lang ist der Weg (1948)
• Germania anno zero (1948)
• Morituri (1948)
• Und wieder 48 (1948)
• Die Affaire Blum (1948)
• Der Apfel ist ab (1948)
• Berliner Ballade (1948)
• Liebe '47 (1949)
• Der Ruf (1949)

Topics of the Rubble film

• Problems of returning soldiers.
• The poverty, suffering and distress in post-war Germany.
• Stunde Null
• Confrontation with the past, particularly with issues of collective guilt.
• Crime and Punishment.
• War damage and war losses.
• Life among the rubble.
• Reconstruction

The Rubble aesthetic

The desolation left as a consequence of the bombing that Germany endured before the end of World War II left the major German cities in shambles. However, unlike other cities, Berlin's structures had steel frames. This enabled many of them to remain standing, despite the bombings. This left jagged figures on the landscape, as well as a lot of rubble on the ground. Often, directors would have either horizontal or vertical shots of the rubble from a low angle. The Murderers are Among Us begins with a ground shot facing upwards showing a Berlin street, complete with piles of rubble, and destroyed buildings. The viewer sees several children running around, and the protagonist ambling up the street. The viewer also sees German citizens working together to clean up, and getting on with their lives, despite the devastation. It has been argued by Gertrud Koch that, aside from the expressionist and neorealistic qualities of the Rubble Film, a major purpose of these films was to re-envigorate the German people, and instill a work ethic that would facilitate the reconstruction of Germany.

Filmpause

In the year after the war ended, no films were made. This one-year period is referred to as the Filmpause, and is due in large part to the destruction or seizure of Germany's film studios, as well as artistic uncertainty. Furthermore, people had little interest in seeing films, much less the facilities with which to do so. This uncertainty was caused by Hitler's delegitimization of conventional filmmaking practices, which forced filmmakers to reinvent their filmography methods, and film content. It would not be until Wolfgang Staudte released Die Mörder sind unter uns in 1946 that German Cinema began to further develop.

Criticisms

Originally, the name "rubble film" held negative connotation. These films were seen as a symbol of defeat and desolation. They symbolized the control that the Nazis had over the German people, as well as the success of the Allies in destroying their country. Instead of offering a nostalgic attachment to what Germany was, it simply was a mark of trauma and despair. The German identity had been stripped by the Nazi party, and they felt that these films did little more than re-affirm the horrors that Germany suffered.