Скачать или смотреть Postcard of Sybille Schmitz / On "Ehe im Schatten" (1947)

Self-explanatory. If you're new here: I let life cue my negotiations of a childhood condition (ideal?) not to have a self except/unless to protect others (by which I continually become myself after all). Thank you if you've read this far.

(references after intro):

Hi, I’m Ellen. I'm a Wolfgang Zilzer fan of German/Japanese descent, defusing memory/emotion to prevent harm. My PhD dissertation calls this “multinarrative ethics of postwar responsibility;” please use me in care for yourself and everyone.

(on my theme: Weimar film on TV was my childhood comfort and anchors me to responsibility to the past for other people.)

FAIR USE NOTE: I operate under fair use by crediting sources from which I transform visual elements to explore new contexts, educate on the possibilities of individual experience with media and complement the originals as a form of commentary. I am happy to discuss any concerns about this – please email: [email protected].

Video referenced in this one: “A Postcard of Sybille Schmitz in Fährmann Maria:    • A Postcard of Sybille Schmitz in "Fährmann...  

films referenced (very briefly) in this video:

Kurt Maetzig, "Ehe im Schatten" (East Berlin: DEFA Deutsche Film-Aktiengesellschaft, 1947).

Frank Wysbar, "Fährmann Maria" (Berlin: Pallas-Film GmBH, 1936).

related playlists:

"Things I Wish You'd See Together (formerly 'Taking Actors' Words As Advice’)"    • Feuilletonistic Autobiography  

My curation of this channel to encourage a holistic, emotional-historical responsibility for all aspects of a person/the past as they enter awareness, using myself. I once disguised this as the smaller wish that people who became enemies through (among other things) the medium that joined them (Weimar/German film) might have found ways to be together, and I show the intimate breadth of that wish here (old description: "My favorite actors of the Weimar era together 'again' in my imagination, for their prewar togetherness was more fragile than my childhood ideal (~ age 3) when I first saw Weimar films on TV.")

“Reckonings With Actors Who Worked in Wartime Germany”
   • Reckonings with Actors Who Worked in Warti...  

Actors under National Socialism prompt these ethical thoughts in me: 1) if my love for what feels familiar ("mine" or "ours") is destructive, then 2) it is not enough to save only my endangered friends from the destructive systems of such love, so 3) I must expand my love to an expanding everyone: in their ongoing emergence from not having been recognized (enough) as people. This list is an opportunity to reckon with such actors. I do not share content from channels that strike me as ambiguous about the NS era – among attempts to treat its film responsibly, I might suggest the 2018 documentary by Rüdiger Suchsland and Eric Rentschler's 1998 overview (at Filmportal: https://www.filmportal.de/sites/defau... ).*

*note also feature films on/of Gustaf Gründgens in "Faust":

István Szabó (dir), "Mephisto," Mafilm Objektív Stúdió, 1981

Peter Gorski (dir), "Faust," KG Divina-Film GmBH & Co., 1960

Tech: smartphone video of a presentation on my laptop

P.S. If you prefer reading to watching – this video shares a short text that I’ve written elsewhere:

I want my identity to be the sense of responsibility to/for other people that I’ve mentioned – it must be in awareness of others that I see my own identity markers […I] ground myself in a granular accounting for selfhood for the sake of others: for an increasing “everyone.”
It strikes me as an asymptotically humble approach to compassion and understanding that precludes the pride of having arrived at perfect harmony – and yet there is no other goal.