How “Downfall,” “The Lives of Others,” and “Capernaum” Frame the Past While Manipulating Political Memory

Paper by Sela Diab.

Political films may seem like they are made solely for entertainment, but they also reconstruct history and frame how political and historical trauma is remembered by society. They use emotional storytelling to form audiences’ memories about past vents. Intensifying selective voices and certain aesthetics work together to change how history is viewed by the public. Political films form how viewers interpret suffering, responsibility, and guilt by turning real stories and events into emotional arratives. Three films that depict cultural memory and trauma differently than the actual political history are “Downfall” (2004), directed by Oliver Hirschbiegal, “The Lives of Others” (2006), directed by Florian Henckel von Donnersmarck, and “Capernaum” (2018), directed by Nadine Labaki. Not only do these political movies reconstruct political trauma, but they redefine how people remember hurtful systems, perpetrators, and victims. Realism, formed by emotional intensity, downplays collective memory of the Holocaust and East German Stasi surveillance in “Downfall and “The Lives of Others” by humanizing harmful, violent, and oppressive historical figures. Documentary-like realism is used in “Capernaum” to reveal how structural violence used to and continues to shape post-civil war Lebanon. Political cinema can change and reframe national memory but can also clarify it. This is determined by whose point of view the film follows. By using cinematic realism, “Downfall,”
“The Lives of Others,” and “Capernaum” alter historical responsibility by exposing and humanizing political trauma. The film scholarship, mise-en-scène, narrative format, and performance in the films demonstrate why filmmakers should be liable for their political cinema shaping collective memory.

Public memory, challenged narratives, and national trauma shape how political films
respond to history. The way the Nazis and Stasis are represented in Germany in real life is
politically charged due to shared collective memory among generations and unresolved national
guilt. In the article “Ready for His Close Up? Representing Hitler in Der Untergang” by
Christine Haase, the author argues that it is always risky to portray Hitler on screen because the
viewers may shift their attitude and even become more sympathetic towards him. Haase writes
about how visual proximity leads to emotional closeness from audiences (189). The way
Hirschbiegal depicted Adolf Hitler and Nazis in the Führerbunker contributes to the controversy
of humanizing them. Haase adds on to this by saying there is tension in postwar Germany when
Hitler’s personal side is portrayed in films because making him seem the slightest bit relatable
normalizes the catastrophe and crimes he caused (191). Realism in cinema can blur actual
historical events by making criminals, like Hitler, who caused great suffering, familiar to
viewers. This softened effect is heightened by the mise-en-scène Hirshbiegal incorporates into
“Downfall.” The bunker is dimly lit which makes it seem more intimate. Also, the interior is
cramped which makes for the physical proximity closer between Hitler and his inner circle. On
top of that, medium close-up shots are often used which puts Hitler in a position to be
sympathized with and seen as emotionally recognizable to viewers, instead of as the inhumane
person he was. The sounds of the film also add to the humanization of him. Hitler’s breathing,
and even footsteps and whispering, makes the audience immersed in his sensory environment.
Furthermore, Hitler’s last days of life being shown, and his depression after realizing there is no
hope to win the war, gets the viewers to see him as a tragic main character instead of the leader
of a genocide, showing how editing gets spectators to emotionally identity with him.
In addition, the article by David Bathrick and Rachel Magshamrain, “Whose Hi/story Is
It? The U.S. Reception of ‘Downfall,’” shows how alarming the focus on Hitler’s everyday life
is because there is a risk of downplaying Hitler’s actions not just in Germany, but internationally
(3-4). Bathrick and Magshamrain add to Haases’s point that emotional proximity can alter how
audiences around the globe interpret the political understanding of Nazism.

Bathrick and Magshamrain’s article explains why the shot composition of the film,
especially in the scenes where Hitler is exhausted, weak, and hunched over, creates the
emotional narrative of him being defeated instead of him getting what he deserves after the terror
he caused. These visual aspects turn Hitler into a frail, fallen leader who is losing control when
he once was the head of a mass murder (3-4).

“The Lives of Others” also contributes to the conflicted memory of the surveillance state
of East Germany in the 1980s. In the article “The Lives of Others” by Matthew Bernstein, how
the Stasis relied on manipulating daily lives of citizens and psychologically intimidating them,
while constantly surveilling them to the point where it was inescapable was discussed (30-31).
The film shows how the Stasis were, and even amplify their actions at some points too, from
creatively controlling Dreyman and Christa Maria, to constantly listening to them behind their
home walls. Bernstein also highlights Wiesler’s transformation from a strict and rule following
Stasi to an empathetic, moral human. This distracts the audiences from how the system was built
on political authority, and instead shows how the officers made subtle, human choices, like
Wiesler not recording everything illegal he heard Dreyman say. (Bernstein 31). With that said,
depicting a Stasi as someone who has redeemable qualities, especially as guilty or empathetic,
shows how films like “The Lives of Others” may alter how the public remembers the controlling
and extreme East German Stasis.

The sound design in “The Lives of Others” contributes to the shift of Wiesler which
creates a softened view of the Stasis. This is shown in the scenes of Wiesler quietly listening to
Dreyman talking, the buzz of recording equipment, and the typewriters clicking. These sounds
make Wiesler appear as someone who is just doing their job, not a powerful Stasi. Him
monitoring Dreyman by himself makes him appear isolated which gets viewers to sympathize
with him. This sympathy can be felt even before he decides to save Dreyman’s typewriter from
being found by other Stasis raiding his home.

The cinematography in the film reinforces this by using high-angle shots that make
Wiesler look small when he is surveilling. Instead of feeling empowered by the system, this
makes him look trapped by it. Also, the colors of “The Lives of Others” are very green and gray
which is an emotional lens. Instead of the viewers seeing the brutality he is a part of, they
experience Wiesler’s feelings of entrapment.

Gerry Coulter, author of “Visual Story Telling and History as a Great Toy- ‘The Lives of
Others,’” writes how the anti-aesthetic and gray looks of the film create a theme of hopelessness
which frames how the viewers understand the German Democratic Republic (2-3). Also, the
author notes that cinematic visuals “contaminate reality” when history is dramatized, which
makes the way surveillance is shaped through aesthetics more persuasive than history itself
(Coulter, 6). The editing in the movie uses long takes and slow crossfades to reinforce this since
Wiesler’s doubts are shown in those moments. Time seems to slow down which gets the
audience to be a part of Wiesler’s internal struggle. Dreyman’s expressive body language
contrasts with Wiesler’s stillness and rigid body gestures which does not show Wiesler as
repressed.

“Downfall” and “The Lives of Others” humanize perpetrators which makes national
memory confusing, while “Capernaum” focuses on victims of structural violence and their point
of view to retell political trauma. Labaki focuses on the failing social systems of Lebanon and
how children, like protagonist Zain, are a result of it, not on the humanization of the perpetrators
that cause it. In the article “Capernaum, A Lebanese Refugee Drama Film” by Manar Hesino and
Manal al-Natour, the film is said to show the “predicament of the Syrian civil war” and how it
links to child suffering, poverty, and displacement (Hesino and al-Natour, 2). The article also
talks about how the lack of documentation, economic crisis, and system collapse of Lebanon
leads to “extreme conditions of poverty” for refugees and Lebanon-born people (Hesino and al-
Natour, 2). The severe trauma is done on purpose using realism which keeps the viewers aware
of outcomes that stem from political neglect. The mise-en-scène Labaki uses is crowds of
children, chaotic street markets, piles of trash, and cramped homes which shows the structural
violence and abandonment of the state. This is reinforced by the intense, natural lighting which
allows the viewers to see the true, uncomfortable environment.

A way to understand this political neglect is through Sune Haugbolle’s article called “A
Modern History of Lebanon.” This article discusses how decades of militia rule, political
sectarianism, and civil war in Lebanon resulted in the country now facing instability and made
governmental institutions weak (144-146). Zain’s suffering was not caused by isolated events,
but by structural failures that are deeply rooted in Lebanon’s history. Real, refugee children
being used as the actors makes this message even more intense. Instead of professional actors
dramatizing these events, the performances of the children hold real experience. The soundscape
shows the political abandonment, too, since it includes crying babies, shouting vendors, and
traffic.

Likewise, in the article “Nadine Labaki’s ‘Capernaum’ and the human rights discourse:
An analysis in visual history” by Verena Dopplinger, it is argued that violations of children
rights are exposed by Labaki. This includes child labor, lacking legal papers and identity, and
parental neglect, all shaped through a human rights lens to frame Zain’s story (4-6). Spectators of
“Capernaum” are made to confront the failed Lebanese government system. The courtroom
scene in the movie is when Zain direct says these accusations. He is not only talking to his
parents but also speaking to the Lebanese government. The close-up shots and dialogue intensify
the scene because it shows how his childhood trauma turned into a political criticism.
Beirut has overcrowded slums and a declining government which leads to insecurity in
children and refugees, as explained by Bilal Quereshi, author of the article “Broke in Beirut.”
This supports the documentary-like realism Labaki used because these two inclusions of
Lebanon and Zain’s journey were major aspects of the film. This type of realism is also seen
using natural lighting, handheld cameras, and long takes which make the film seem unscripted
(104-105).

Beirut’s collapsing system is shown through shots of Zain constantly running, searching,
and wandering. This shows how unstable Beirut is and the geography of it, too. Long tracking
shots are used to reveal this and shows how Labaki is determined to expose political collapse
many Lebanese and refugees live in.

Another controversy of one of the three films is shown in Haase’s article about
“Downfall.” The author spoke about the film being controversial because of realistic techniques
being used which makes the audience inside the bunker sympathize with Hitler and his followers
(190). Bathrick and Magshamrain add on to this by explaining how making the bunker
immersive makes Western viewers’ judgement of Hitler blurred since they do not have the same
historical context Germans have (12).

“Downfall,” “The Lives of Others,” and “Capernaum” all use realism as their most
effective tool because it shapes how the trauma of each story is remembered. The realism in
“Downfall” creates sympathy for perpetrators because the focus is on their personal emotions.
“The Lives of Others” forms a narrative that Stasis” oppression was simpler than it really was
during East German surveillance. In “Capernaum,” trauma is shown through realism because the
oppressive social structures are exposed instead of weakened. The protagonists, like Hitler,
Wiesler, and Zain, are all framed to increase empathy or communicate a failing system.

Filmmakers can retell history unintentionally because emotional stories are the priority
for them instead of being fully accurate, according to Coulter. This leads to visuals being the
main memories of the films over the documentation of historical events, which turns cinema into
a “toy” that alters national memory (9). Haase, Bathrick, and Magshamrain use this idea when
discussing “Downfall.” They do this by humanizing Hitler which risks an emotional narrative
taking over the Third Reich memory (190, 3-4). Bernstein also exemplifies this risk in his article
by talking about Wiesler’s redemption arc which takes over and blurs the collective memory of
the brutal Stasi rule. Moral choices of Wiesler are highlighted over the violent Stasi system (31-
32). Cinema uses editing, performance, music, and visual cues to help trigger an emotional
reaction from the audience which gets them to remember these versions of historical events over
the accurate, real-life ones.

With that said, Hesino, al Natour, Dopplinger, Qureshi, and Haugbolle, authors who
discussed “Capernaum,” show how realism can be ethical if it confronts systemic injustice.
Hesino and al-Natour write about how the movie reveals poverty and governmental neglect
which was created by Lebanon’s political and economic collapse (2-3). Dopplinger takes this
point further by saying how Zain’s story in “Capernaum” is a way to show state failure and how
Lebanon should protect undocumented people (4-6). Qureshi’s writing on Beirut shows how
Zain, and real Lebanese children like him, are able to barely survive in the collapsing systems
and cities of Lebanon (104-105). These articles, along with Haugbolle’s writing of Lebanon
post-civil war, and how the instability led to situations like Zain’s desire to leave home because
he saw no future for himself, all show political abandonment. This includes the government
rejecting to care for the undocumented, politically abandoned, and poor.

Political filmmakers should all be aware of their choices, including casting, point of view,
narrative framing, and camera angles. In today’s world, political films are a part of the collective
archive of history. Films like “Downfall,” “The Lives of Others,” and “Capernaum” all influence
what future generations of the world forget and remember about historical events, and even who
they sympathize and blame. Emotional memory is also shaped by the technical choices of the
film, including the intimate bunker in “Downfall,” the gray aesthetic of “The Lives of Others,”
and the handheld camera used to show street realism in “Capernaum.”

Collective memory, historical trauma, and national guilt are all shaped by how political
films understand these aspects. Three differing types of realism are shown in “Downfall,” “The
Lives of Others,” and “Capernaum.” These include, the humanization of perpetrators, blurring
the line of reality in terms of systems of oppression, and the uncovering of structural violence.
Haase, Bathrick, and Magshamrain contribute to the argument of realism in “Downfall” risking a
new way Hitler is defined (189-191, 3-4). Bernstein and Coulter expose how “The Lives of
Others” created a narrative of a Stasi member having a moral compass which can modify how
surveillance and state violence is remembered by the public (30-32, 2-3). In contrast, Hesino, al-
Natour, Dopplinger, Qureshi, and Haugbolle all show how “Capernaum” reveals the long-term
political factors leading to poverty in Lebanon and systemic failures of the country (1-3, 4-6,
104-105, 144-146). Filmmakers have the ethical obligation to take certain choices into account if
it has the possibility of falsely and negatively swaying public memory since cinematic realism is
so emotionally powerful. Political films inevitably frame how nations remember their own, and
others’, historical past whether it is distorted or truthful.

Works Cited
Bathrick, David, and Rachel Leah Magshamrain. “Whose Hi/story Is It? The U.S. Reception of
‘Downfall’.” pp. 1-17.
Bernstein, Matthew. “The Lives of Others.” Film Quarterly, vol. 61, no. 1, Fall 2007, pp. 30-36.
“Capernaum.” Directed by Nadine Labaki, performed by Zain al-Rafeea and Nadine Labaki,
Mooz Films, 2018.
Coulter, Gerry. “Visual Story Telling and History as a Great Toy-The Lives of Others’.” The
International Journal of Baudrillard Studies, vol. 6, no. 2, July 2009, pp. 1-10.
“Downfall.” Directed by Oliver Hirschbiegel, performed by Bruno Ganz and Alexandra Maria
Lara, Constantin Film, 2004.
Dopplinger, Verena. “Nadine Labaki’s ‘Capernaum’ and the Human Rights Discourse: An
Analysis in Visual History.” pp.1-15.
Haase, Christine. “Ready for His Close-Up? Representing Hitler in Der Untergang.” pp. 187-
200.
Haugbolle, Sune. Review of A Modern History of Lebanon, by Fawwaz Traboulsi. Middle East
Journal, vol. 66, no. 1, Winter 2012, pp. 143-146.
Hesino, Manar, and Manal al-Natour. “Capernaum, A Lebanese Refugee Drama Film.” pp. 1-3.
Qureshi, Bilal. “Broke in Beirut.” Foreign Policy, no. 226, July-Aug. 2017, pp. 104-105.
“The Lives of Others.” Directed by Florian Henckel von Donnersmarck, performaned by Ulrich
Mühe, Sebastian Koch, and Martina Gedeck, Buena Vista International, 2006.