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Essay / Research Paper Abstract
A 5 page essay that analyzes the German-made film based on the novel by Heinrich Boll. The writer argues that it is a film that asks some hard questions about certain assumptions that are made in Western democratic societies, such as how far should freedom of the press be allowed to infringe on personal privacy? Katharina Blum shows that the right-wing paranoia that threatened American freedom during the McCarthy era is not a social phenomena exclusive to the US. Bibliography lists 1 source.
Page Count:
5 pages (~225 words per page)
File: D0_khkblum.rtf
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societal forces that mount against her. It is a film that asks some hard questions about certain assumptions that are made in Western democratic societies, such as how far should
freedom of the press be allowed to infringe on personal privacy? At what point does the security of the state override the sanctity of a persons home? Katharina Blum shows
that the right-wing paranoia that threatened American freedom during the McCarthy era is not a social phenomena exclusive to the US. The film shows a similar hysteria in West Germany
during the 1970s that focuses on not only excessive zeal on the part of the police, but also how this was aided and abetted by tabloid journalism. In addition
to these themes, there is also a feminist undercurrent in this film that concerns the sexual double standard that is a continuing vestige of patriarchy in Western society, particularly during
the seventies. Katharine Blum was directed by filmmaker Volker Schlondorff; however, working with Schlondorff on this film was his wife, Margarethe von Trotta, who later became a noted filmmaker
in her own right (Anonymous, 2001). It was Von Trottas contributions to the film that make it much more of a womans narrative then it was in the novel
by Heinrich Boll, on which the screenplay was based (Anonymous, 2001). Katharina Blum (played by Angela Winkler) is an innocent, hardworking young woman who is obviously a giving
and caring individual. She meets and falls in love with Ludwig Gotten (Jurgen Prochnow), but does not suspect that Gotten is being followed by the police as a suspected terrorist.
Katharina allows Gotten to accompany her home and spend the night. In the lexicon of the time, which was the double standard, this is the fatal error, the "sin," that
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