Open Access

Andrew David Edward Wormald

• This thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel. In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany.