And this year, Horst Seehofer will be making the announcement. All eyes will be on the new interior minister in Berlin on Tuesday as he presents the new crime stats for the first time. But these headlines may not make it to print. Germany in is a different country from the one it was just a few years ago. Facts are increasingly making way for emotions. Read more: Amid concerns over public safety, Germans are buying more weapons. In , the number of recorded crimes sank to 5. Yet Pfeiffer, who was the director of the Criminological Research Institute of the state of Lower Saxony and served as justice minister in Lower Saxony, says a glance at the TV listings goes a long way to explaining why Germany feels less safe nonetheless.
We're being flooded with murder and homicide. No wonder, Pfeiffer concludes, that people generalize and become more anxious — even though violent crime in particular declined sharply last year. According to the criminologist, Germany is currently going through a process that every migrant nation experiences when a lot of immigrants arrive at once. The sense of insecurity is especially high in large cities, where the proportion of immigrants has increased significantly in recent years. The reason, Pfeiffer said, wasn't an actual rise in crime, but "a perceived loss of "Heimat. The very German expression of "Heimat" denotes a place or a community where a person feels at home — something to which they are emotionally attached.
In the postwar years, the Heimatfilm genre was one of the most successful in Germany. The Germans forgot the sorrows of their lives in the early s by enjoying scenes of natural landscapes and heartbreaking stories. At a subliminal level, these films addressed subjects of flight and displacement. German cinema had already built up a strong connection to topics such as home and nature during the silent film era. In the genre known as "mountain films," director Arnold Fanck drew a connection between nature and mysticism.
The s was the high point of the Heimatfilm genre. Producers and directors usually set their stories in a green, mountainous backdrop. Subject matter swung between drama and kitsch. Later, those who studied film saw in the Heimat genre messages of despair and misery. Decades later, directors like Herbert Achternbusch and Werner Herzog helped the Heimatfilm make a comeback.
This time, though, Heimat was defined differently. Achternbusch, who originally stemmed from Bavaria and can be seen here at right in the film "Bierkampf" "Beer Chase" made fun of Bavarian ways. This new take on Heimat was satirical and vicious. In doing so, he held up a mirror to the major events in German history. Reitz was also responsible for the epic series "Die andere Heimat" "Home from Home: Chronicle of a Vision" released in The genre took on yet another meaning as the director traced the steps of 19th century German immigrants to Brazil.
Emigration and immigration are two sides of the same coin, and this shows how it can be viewed from many different perspectives. The most recent entry in the Heimatfilm genre shows Germany from a bird's-eye view. A documentary film like "Die Elbe von oben" "The Elbe from Above" , shows Heimat as an abstract concept, looking at it from a distance.
The beauty of the landscape is in the foreground, the surface of things dominating perspectives. Heimatfilms are not specific to Germany.
In the US, they simply have a different name for the genre. The Western tells stories of land grabs and displacement, of new and old Heimat — most often from the perspective of the settlers — as seen here in "The Searchers" in Movies focusing on Heimat have been produced in other nations as well. You could safely classify the works of director Federico Fellini in this genre.
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In "Amarcord" and other films, Fellini told stories of cities and provinces, of people and families — stories which could not possibly have been set anywhere else but in Fellini's native Italy. Auf die fertige Unterkonstruktion lassen sich im letzten Schritt die Dielen mit einem Akkuschrauber verschrauben.
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