Wendebilder: Die Leipzig-Filme von Andreas Voigt

Letzte Woche saß ich im Kino, der Film hatte noch nicht begonnen und ich kommentierte mit einem Freund den längst auswendig gelernten Werbeblock. Unter anderem wurde ein Werbefilm gegen Rechtsextremismus gezeigt, den ich bis dahin erst einmal gesehen hatte. Zu Anfang des Spots erinnerte ich mich unwillkürlich, dass ich es damals ganz lustig fand, wie dieser Rechtsradikale mit dem distanzierten Blick des Tierforschers als bedrohte Art in einem feindlichen Lebensraum zeigte. Immer wieder wird ihnen der zum Hitlergruß erhobene rechte Arm ein unüberwindbares Hindernis im Alltag. Doch letztlich findet eine alte Frau Verwendung für den störenden Grußreflex und nutzt die gestreckten Arme zweier Neonazis als Aufhänger für die Wäscheleine in ihrem Garten. All das war mir auf einmal wieder präsent und veränderte meinen zweiten Blick auf den Werbespot.

Plötzlich fiel mir auf wie stark dieser ästhetisch auf die 1990er Jahre verweist. In einer Verbindung von stilistischen und inhaltlichen Referenzen beschwört er die 90er als große, böse Zeit des ostdeutschen Neonazismus. Neben Proletarierwohnungen, einem kleinbürgerlichen Vorgarten und Menschen in weiten, hellblauen Jeans: historisches Fotomaterial aus Rostock-Lichtenhagen. Die gegebene historische Dringlichkeit der herbeigezerrten Zeit und ihrer Ereignisse wird aber noch im Moment der Beschwörung durch die retro-glasierte Home-Video Optik der Bilder wieder gebannt. Der kurze Schauer der ins Bewusstsein gebrachten Urteile und Gewissheiten genügt, die Geschichte darf zurück in die Truhe. Der Retromodus reduziert Geschichte auf den Inhalt einer Verkleidungskiste und Menschen auf Anziehpuppen. Das Problem entsteht dabei nicht als Frage nach Wahrheit oder Unwahrheit der Urteile, sondern aus dem Zusammentreffen dieser Urteile mit ästhetischen Strategien die ein wahrhaft historisches Nachdenken, Fragen nach der Herkunft von Urteilen und Beurteiltem zu verhindern suchen. Die konstitutive Prozesshaftigkeit von Geschichte, d.h. ihr Werden in der Zeit, wird ersetzt durch das Inventar eines künstlich kondensierten Augenblicks. Retrochic beruhigt und vergewissert über die Richtigkeit der eigenen Annahmen: So sah man damals aus! So hat man damals geredet! So war man damals! In ihrer Strategie der zeitlich unbestimmten Distanzierung zeigen Retrobilder immer nur eine ungefähre Masse der Anderen und radieren die persönliche historische Involvierung aus. Die gewonnene Einsicht ist verschwommen, die gefällten Urteile dafür umso schärfer.

Ach, seid doch froh, die Geschichte ist vorbei! Aber die Urteile bleiben, und bleiben gleich, weil die Geschichte ja vorbei ist, und verleiten zu historisch lackierter Erkenntnis, die in ihrem Kern völlig ahistorisch ist: Jaja, die rechten Ostdeutschen, damals wie heute! Die Parallelisierung von historisch verschiedenen Ereignissen als Praxis der Identifizierung ist der Moment, in dem das Denken in die Schublade gerät. Fragen nach dem Ursprung und der Herkunft von Feststellungen und ihren Beziehungen – mit denen das historische Denken beginnt – haben hier keinen Platz. Die Bildrhetorik des besprochenen Werbespots steht beispielhaft für die Probleme der einheitsdeutschen Debatten um den erstarkenden Rechtsradikalismus in Ostdeutschland und in einem größeren Zusammenhang für die Verarbeitung der jüngeren deutsch-deutschen Geschichte insgesamt. Denn stellte man konsequent die Frage nach der Herkunft dieses Phänomens, so würde man einmal mehr, und  vermutlich so ratlos wie je, vor dem erschütterndsten deutschen Trauma der Nachkriegsgeschichte stehen – der Wende oder der Einheit oder der Wiedervereinigung. Oder der Einverleibung der ehemaligen DDR, wie Christoph Schlingensief schon 1990, noch während der deutschen Schockstarre, in seiner hyperbolischen Allegorie Das deutsche Kettensägenmassaker gezeigt hat. Ein Deutungsversuch, der sich der eigenen und der allgemeinen Ratlosigkeit vollkommen ausliefert, um in all seiner notwendigen Zerrissenheit einen Anfang zu machen. Nur im Bewusstsein der Ohnmacht vor der Geschichte kann eine lebendige Auseinandersetzung abseits festschreibender oder zuweisender Identifizierungen beginnen.

Wenn heute Fragen nach der Entstehung des Rechtsradikalismus in Ostdeutschland in der öffentlichen Debatte gestellt werden, dann ist die Wende im Optimalfall ein Grund neben vielen anderen wie Arbeitslosigkeit, fehlender Bildung und Überalterung. Aber es geht ebenso wenig um eine Aufzählung von Gründen wie um die Entschuldigung von Rechtsradikalismus durch eine hinreichende Erklärung: es geht darum, einen historischen Prozess nachzuvollziehen und – als nicht abgeschlossenen – gegenwärtig und damit diskutierbar zu machen. In dem vollen Bewusstsein, dass immer ein Rest des Nicht-Verstehens bestehen bleiben wird.

Der deutsche Film hat sich dieser Aufgabe bisher nur selten gestellt. Es gibt zwar zahlreiche Filme, die die Wende thematisieren, aber nur wenige fallen dabei nicht in den oben problematisierten Retromodus oder in ähnlich ahistorische, unreflektierte Klischees. Ich möchte mich stattdessen dem filmischen Werk widmen, das als Auslöser für diesen Text gelten kann, das ich sehr bewundere und von dem ich glaube, dass es an jeder deutschen Schule, zumindest aber jeder Leipziger Schule gezeigt werden sollte – den Leipzig-Filmen von Andreas Voigt. Keine Jugend, ohne Film.

Andreas Voigt schafft es, seit fast 30 Jahren Filme zu machen, die Vergangenheit aufspüren und als unabgeschlossene, wuchernde Aktualität sichtbar machen. Die ersten Filme seines Langzeitdokumentationsprojekts dreht er noch ausschließlich in Leipzig, doch Ende der 1990er Jahre zieht er auch aus in bundesrepublikanisches Kernland, den Protagonisten seiner Filme hinterher. Der Anspruch, das Politische, die Arbeit der Geschichte an Land und Leuten, an Ideen und Ideologien, aus dem Regionalen und Privaten zu entfalten bleibt den Filmen dabei gemein.  Unverrückbar im Zentrum der Filme steht das Ereignis der Wende als schwarzes Loch, das alle Bilder, alle narrativen, alle historischen Lichtstrahlen zu sich hinbiegt, um sie schließlich aufzusaugen. Voigt versucht mit der notwendigen Demut vor der Geschichte nicht die Wende durch sich selbst zu erhellen – Bilder der großen Momenten einer Weltgeschichte sucht man vergeblich in Voigts Filmen –, sondern filmt die Biegung der Strahlen – die Brüche in den Lebensläufen seiner Protagonisten, das Verschwinden der Betriebe und Institutionen, den Abbruch und Wiederaufbau der Stadt – bevor sie vollständig aufgesogen und für alle Zeit im Dunkel der Geschichte absorbiert sind. Immer wieder scheinen die Filme uns zu sagen: Schaut her, man konnte, man kann es sehen! Diese Arbeit ist notwendig eine des Fragments und der Montage, will sie die Brüche, Biegungen, Ablenkungen, Überschneidungen und Kongruenzen der Strahlen ernst nehmen. Schaut! Da und da und da und da!  Es liegt eine große Dringlichkeit darin, noch leuchtende Vergangenheit zu zeigen, bevor sie zu dunkelster Geschichte wird.

In vier Miniaturen möchte ich einige Bilder, Szenen und Motive aus den Leipzig-Filmen nachvollziehen. Solche, die mir beispielhaft für die Weise erscheinen, in der sich Geschichte in Voigts Filmen zeigt, aber auch einige, die mir persönlich, möglicherweise aus autobiographischen Gründen, am Herzen liegen. In Klammern nenne ich die Filme, auf die ich in der jeweiligen Miniatur Bezug nehme.

Ein Straßenzug in Leipzig-Plagwitz.

Bilder einer Stadt („Alfred“ 1987; „Letztes Jahr Titanic“ 1990; „Glaube – Liebe – Hoffnung“ 1993)

Ich habe die denkende Hälfte meiner Jugend als Sohn westdeutscher Eltern in Leipzig verbracht, der altehrwürdigen Messe- und Buchhandelsstadt, der Wirkstätte Bachs und dem Geburtsort Wagners, der Stadt in der Goethe und Schiller verkehrten. Aber auch in Leipzig, dem industriellen und kulturellen Zentrum der DDR, der Heldenstadt der Montagsdemonstrationen und der Friedlichen Revolution. Und in Leipzig, der grundsanierten ostdeutschen Metropole mit rapide sinkender Arbeitslosigkeit, der Stadt mit den 10 Seen und den 1000 umgebauten Industriehallen. Aber erst spät, erst in Berlin und – wichtiger – erst durch die Filme Voigts habe ich verstanden, dass es eine Geschichte abseits dieser Identitätsnarrative geben könnte. Der amerikanische Fotograf Lewis Baltz hat einmal über Berlin geschrieben: „London, Paris, Rom haben eine Geschichte, aber Berlin hat eine Vergangenheit“. Dasselbe gilt für Leipzig.

Güterzüge rollen durch die Stadt. Rechts und links der Trasse Industriehallen, Hinterhöfe, eine schrankenlose Straßenkreuzung an der geduldig ein einsamer blauer Trabant und einige Kinder warten, mehr Industriehallen. Später links ein Fluss und rechts ein Dickicht. Bilder, für mich exotischer als die Zugaufnahmen von südasiatischen Länder, die nachts um halb zwei im deutschen Fernsehen auf Zuschauer warten. Die Männer in den Fabrikhallen bugsieren glühende Stahlteile von einer Maschine zur nächsten. Keine Schutzkleidung und Zigarette im Mundwinkel. Schwerindustrie in Deutschland 1987. An einem Straßenrand im Arbeiterviertel Plagwitz stehen zwei Männer vor einem Kleinlaster, der mit Industrieschrott beladen ist. Bis auf den Laster ist kein Auto zu sehen. Wobei, das Ende der Straße ist kaum zu erkennen, zu dick ist der tief hängende Dunst, der aus den harten Strahlen der frühen Sonne ein sanftes Glühen filtert. Die Geschichte ist im Licht.

Drei Jahre später, ein Zug fährt ein in die große Halle des Leipziger Hauptbahnhofs, Schreie nach „Gorbi“ sind zu hören. Schnitt. Eine feiernde Menschenmenge zieht über den Augustusplatz, es sind ihre Schreie, die wir hören. Hoffnung auf Veränderung hat sich über die Stadt gelegt und dringt in jedes Bild. Später sehen wir einen Straßenzug in Plagwitz, wie in Alfred. Aber das Glühen ist verschwunden, der Film ist in den Grauwerten einer anderen Zeit angekommen.

Drei weitere Jahre später sind die Züge geschrumpft und in einen Glaskasten verbannt. Modelleisenbahnen ziehen ihre Kreise durch eine künstliche Stadt. Ein Frankfurter Bauunternehmer kommt im Privatjet an, er ist auf dem Weg zur Eröffnung seiner luxussanierten Mädlerpassage.

Auf den ersten Blick haben wir es hier noch mit klassischen Geschichtsbildern zu tun. Voigts Filme stellen Vergleiche zwischen Motiven durch ihre Wiederholung her: es war so, dann so und dann so. So wird an den Bildern der Stadt ein historischer Prozess sichtbar. Weil dieser aber nie den Anspruch auf Lückenlosigkeit erhebt, kann im leeren Raum zwischen den Bildern, gewissermaßen im „und“, die Frage des historischen Denkens erstehen: Wie kam es dazu? Voigt lässt den Bildern Platz und besteht nicht auf eindeutigen Kausalbeziehungen, wo es keine gibt. Die lineare Geschichte öffnet sich auf eine zweite Dimension: es gibt nicht nur rechts und links auf dem Zeitstrahl, sondern auch Parallelitäten, Überschneidungen und Interferenzen. Sehr deutlich wird das in einem Motiv aus Glaube – Liebe – Hoffnung.

Der kleine Junge aus der Prophezeiung-

Wem gehört die Stadt? Während der Frankfurter Bauunternehmer – begleitet von Faust und Mephistopheles – ein Geschäft nach dem anderen eröffnet, schieben Sven und ein Kollege schwer bewaffnet Wache im WERK II, einem alternativen Leipziger Kulturzentrum. Der Boden muss verteidigt werden. Gegen rechts aber auch gegen die Landnahme aus dem Westen. Doch selbst diesem vermeintlich behaupteten Raum ist schon eine Verlustgeschichte eingeschrieben. Später sehen wir einen älteren Mann, der die Kunst an den Wänden der ungenutzten Industriehalle betrachtet, in der er früher arbeitete. Die Photographie eines kleinen Jungen berührt ihn augenscheinlich tief. Lange schaut er nur, dann verliest er die begleitende Prophezeiung vom Weg ins „Hurental der Weltwirtschaft“. Er erkennt sich selbst als Kriegskind in dem Jungen. In dieser Szene ballen sich historische Narrative zu einem Geschichtsbild zusammen, das eine dritte Dimension aufzustoßen scheint. Es überlagern sich Nachkriegsgeschichten und Nachwendegeschichten, tiefe Vergangenheit und dunkle Zukunft. Weil Voigt aber weiß, dass es eine dritte Dimension nur geben kann, wenn es auch eine erste gibt, holt er das vorher und nachher wieder ein: „Was nützt denn mir Kunst, wenn de jetze arbeitslos wirst?“ sagt der Arbeiter.

Voigt zeigt Vergangenheit in ihrer Vielheit, bevor sie zu einer Geschichte gemacht wurde. In den schlagkräftigsten Sequenzen zeigt er Geschichte gar im Moment ihrer Herstellung. Er rückt den Einheitsnarrativen dabei so eng auf den Leib, dass sie von sich aus ihre Brüche zeigen. Da gibt es eine Kamerafahrt durch die nächtliche Mädlerpassage. Vorbei an den Schaufenstern der schicken Geschäfte, vor denen zwei Männer den Boden kehren. Die Fahrt endet in der Tiefe des Ganges, wo zwei andere Männer in strammer Haltung einen ausgestellten Mazda MX6 bewachen. Die letzte Kadrierung wird lange gehalten und wir können ihre Gesichter sehen. Gesichter wie draußen auf den Industriebrachen vor den Toren der Innenstadt. Voigt schafft es, diesem völlig enthistorisierten, für eine unheilige Allianz von Shopping und Tourismus musealisierten Ort eine historische Dimension zurückzugeben. Das Politische der Filme äußert sich in diesen Momenten als subversive Aktion, welche die Bilder bestehender Narrative gegen sich selbst wendet und so befreit.

Silvesterabend 1989 in Leipzig.

Letztes Jahr Titanic („Letztes Jahr Titanic“ 1990)

Letztes Jahr Titanic. Die Silvesterfeier als Inszenierung eines Untergangs. Irgendwo in Leipzig verabschiedet man sich vom letzten Jahr, vom letzten Jahr einer Gesellschaftsordnung. Es spielt ein wehmütiger Tanz und alles ist zum letzten Mal. Ein letztes gemeinsames Foto, ein letzter Walzer, ein letztes Mal „Auferstanden aus Ruinen“. Die Gesichter stehen auf Abschied, der Film hat sich ein Trauergewand übergeworfen. Ein Mann im schwarzen Frack mit Megafon ruft zur Evakuation. Das Licht flackert, das Bild wird schwarz. In der Unschärfe der nächtlichen Straße umarmt sich lange ein Paar. Die Geschichte ist das Meer, die Wende ist der Eisberg. Man muss ins Wasser springen, um zu sehen, auch wenn dann alles verschwimmt. Andreas Voigts Kamera ist persönlich involviert, es ist ebenso seine Geschichte. In der Solidarität des Untergangs gibt es keine Distanz. Aber Voigt ist auch als Stimme immer anwesend und angreifbar in seinen Filmen, man hört ihn zuhören und nachfragen, vereinzelt Feststellungen machen. Dieser Kommentar sorgt oft für die Öffnung von Bildern, die der Gefahr einer historischen Eindimensionalität ausgesetzt sind. Er speist neue Linien ein oder bringt versteckte an die Oberfläche.

Am Rande der Festlichkeiten sitzt alleine Isabell, eine junge Hausbesetzerin, die als Protagonistin in Voigts Filmen immer wiederkehren wird. Sie zeigt ihm auf Nachfrage ihre letzten Ostmark. Schnitt. Die D-Mark ist eingeführt. Sylvia und ihr Mann stolpern hoffnungstrunken aus einer Bank auf die sonnengeflutete Straße und führen die neuen Scheine vor. Sie verabschieden sich mit kurzen Worten von Voigt und aus dem Film. Die Kamera blickt ihnen hinterher, die Straße hoch.

In diesen beiden Bildern des Abschieds wird eine Arbeitsweise Voigts deutlich. Er destilliert in elliptischer Form aus den realen Erlebnissen seiner Protagonisten allegorische Bilder, deren Falllinien tief in die Geschichte weisen. Dennoch bleibt die Vieldeutigkeit des Weltbezugs immer bestehen. In den rückblickenden Gesten der Neujahrsfeier scheint die Hoffnung eines gemeinsamen Neuanfangs auf. Sylvia und ihr Mann bleiben nach den letzten Worten ein wenig zu lange unentschieden stehen, um die entschieden vorwärts gerichteten Schritte ihres Abgangs nicht in Zweifel zu ziehen. Im Kontrast der beiden Szenen entsteht die Ungewissheit lebendiger Geschichte.

Voigts Film bleibt aber nicht unschlüssig vor dieser emotionalen Ungewissheit stehen, sondern zeigt kühlen Kopfes die faktischen, materialen Konsequenzen der Geschichte, die den Einzelnen und sein Verhältnis zu ihr gewissermaßen überholen: Erst die Einstellung eines Flohmarkts, vor dem Autos westdeutscher Fabrikation kreuzen; dann die Südhalle des Leipziger Hauptbahnhofs mit großer „Neues Deutschland“-Reklame durch die „Deutschland“ deklamierende Fußballfans ziehen, in jeder Hand eine große Deutschland-Fahne.

Die erstaunlichsten Szenen gewinnen ihre allegorische Bedeutungsgröße zu einem solchen Maß aus den Tatsachen eines historischen Um- und Einbruchs, dass sie zu Bildern einer surrealen Qualität werden, in denen man meint, nicht mehr unterscheiden zu können zwischen Wirklichkeit und Szenario. Da steht ein Augsburger Zwillingspaar des Nachts an einer Leipziger Straßenecke und erzählt vom brummenden Pornogeschäft in Leipzig, von offenen Hausfrauen in einem offenen Land, von neuen Autos und 70.000 DM in zwei Wochen. „Feuchte Zeiten“ wünschen sie Deutschland. Geschichte legt hier Zeugnis ab gegen sich selbst, folgt man Gilles Deleuze, der in seinem Buch Das Zeit-Bild. Kino 2 nach einem Ausspruch Godards formuliert: „Wenn die Bankiers Mörder, die Schüler Gefangene, die Photographen Kuppler sind und wenn sich die Arbeiter von den Chefs den Arsch ficken lassen, dann muß man zeigen […] wir haben es nicht mehr mit einer Metapher, sondern mit einer Beweisführung zu tun.“

Zwei junge Männer schießen in den Tagebau.

Nationaler Taumel – Dialog I („Letztes Jahr Titanic“ 1990; „Glaube – Liebe – Hoffnung“ 1993)

Ein junger Mann sitzt in Mickey Mouse Pantoffeln und Lonsdale Pullover in der Sofaecke seines Wohnzimmers und spielt ein selbstgeschriebenes Lied. „Ausländer rein, rein ins Gas“ lautet der Refrain. Das erste Mal haben wir ihn gesehen, wie er als Weihnachtsmann verkleidet Werbung macht und Bonbons an kleine Kinder verteilt. Seine Namen erfuhren wir erst danach, aus der Frage Voigts, was er am Abend noch machen würde. André geht in die Disco. Es ist die Geschichte eines Kennenlernens, vielleicht die dialogischste in allen Voigt Filmen, obwohl André nur in diesem Film Glaube – Liebe – Hoffnung auftaucht.

André sitzt am Küchentisch und erzählt von der geplanten Umbenennung der Karl-Liebknecht Straße in Südstraße, bevor er bemerkt, dass die Kamera schon läuft. Er darf sich zeigen, er führt seine Leuchtpistole vor, Voigt reicht ihm aus dem Off eine Suppenterrine in der die Patronen aufbewahrt sind und fragt ihn, nicht ohne Vermutung in der Stimme aber auch nicht urteilend, vielleicht ein wenig väterlich, wofür er die braucht. André versichert, er hätte damit noch nie ein Ausländerheim beschossen. Es klingt nicht so als würde er es ausschließen. Als André die Fragen nach seiner Kindheit im Heim abblockt, gibt es einen Schnitt. Neues Gesprächsthema ist der Wellensittich der in einem Käfig auf dem Küchentisch steht. „Damit ich nicht immer so alleine bin.“ Zunächst ist Voigt ein sehr durchlässiger Gesprächspartner, er enthält sich Urteilen, wo andere schon fällen würden, ist behutsam zurückhaltend ohne sich zu distanzieren. Die Kamera nimmt diesen Modus auf und bleibt fest in einer Halbnahen auf André, gibt eine Bühne ohne auszustellen. So bringt der Film langsam das hervor, was man als die Gründe einer Radikalisierung bezeichnen könnte. Es sind die altbekannten: schwierige Kindheit, Arbeitslosigkeit, Langeweile, Einsamkeit. Aber kann das befriedigen?

Voigts Film stellt sich hier einer ganz konkreten historischen Frage: Kann man erklären, warum und wie junge Menschen im Deutschland der 90er Jahre zu Neo-Nazis werden? Warum sie Nähe zu einer menschenverachtenden Ideologie spüren, deren Grundlage ein verquerer ahistorischer Geschichtsrevisionismus ist? Man muss es versuchen.

Die dialogische Form dieses Versuchs basiert auf dem humanistischen Impuls den Anderen als Menschen zu verstehen, in dem man sich persönlich stellt. Wir hören viel von Voigt in dieser Episode, aber wir sehen nur André. Der Film bleibt immer klar darin: es geht hier nicht um eine Selbstbeschau, sondern um die Geschichte der gezeigten Menschen und Orte. Doch um diese Geschichten(n) als Teil eines umgreifenden historischen Prozesses ernst zu nehmen, muss die eigene Involvierung in diesen zugegeben werden. Der Film und die Bilder sind Teil des Prozesses, den sie sichtbar machen. Alles andere würde eine künstliche Distanz schaffen, einen Exotismus des Anderen, wie ich ihn als Funktionsweise der Retro-Bilder beschrieben habe. Vermeintliche Neutralität läuft Gefahr die Historizität der eigenen Darstellungsweisen zu verschleiern und so in der Betrachtung eines historischen Prozesses selbst ahistorisch zu werden.

Im Bewusstsein dieser Gefahr vollzieht der filmische Dialog eine Zuspitzung. Das oben beschriebene Bild von André in seinem Wohnzimmer ist nicht mehr auf André, seine Gesten und seine Worte allein konzentriert. Die Totale schreibt ihn in den größeren Zusammenhang einer Lebenswelt ein und bringt so Widersprüche hervor. Mickey Mouse und Lonsdale, kleinbürgerliche Wohlfühlatmosphäre und E-Gitarre. Auch im Gespräch treten plötzlich Widersprüche auf. Nachdem André von Chorauftritten am DDR-Feiertag zum Untergang des Hitler-Faschismus erzählt hat, fordert Voigt ihn direkt auf, sein neues Lied zu spielen. Ohne groß zu zögern, fängt André an zu schrammeln: „Ausländer rein, ja das macht Spaß. Ausländer rein, rein ins Gas.“ Die Diskrepanz, die hier zwischen Bildern und Tönen entsteht, wirkt profanierend. In den Ideen, die André in der folgenden Diskussion vertritt, gibt es keine klare Linie, keine tiefe Überzeugung. „Das macht halt fun, da können alle mitsingen“, sagt er, zunehmend in die Ecke gedrängt. In der Profanität dieser Weltanschauung scheint ein weiterer möglicher Grund für die Radikalisierung auf. Es ist der Wunsch Anerkennung zu bekommen und einer Gruppe zugehörig zu sein, in Zeiten, in denen alle gesellschaftlichen Institutionen in Frage gestellt oder schon verschwunden sind. Aber die hier wirkenden Mechanismen beleuchten auch eine westliche Leistungs- und Konformitätskultur, mit der man sich plötzlich konfrontiert sieht, die man ablehnt und im selben Moment schon bedient.

In den letzten Zügen des Gesprächs, wenn André erklärt, es mache halt Spaß ein Ausländerwohnheim zu überfallen und sei ja gar nicht so ernst gemeint, wird klar, dass alle diese Gründe nicht ausreichen, um das warum zu klären. In der Rechnung bleibt immer ein unbestimmbarer Rest. Andreas Voigt hat in einem Interview einmal von „nationalem Taumel“ gesprochen. Es gibt auch in Letztes Jahr Titanic schon Bilder, die in diese Richtung weisen. Junge Männer singen während einer Demonstration die erste Strophe des Deutschlandliedes, in einer Kneipe beschweren sich ein paar Arbeiter, das Voigt immer nur die musizierenden Mosambikaner filmen würde und nicht sie, obwohl sie doch schon länger hier seien. Der Rest in diesen Bildern weist im Kontext von Voigts Filmen auf die Unfassbarkeit der Wende, auf das bleibende Nicht-Verstehen vor der Geschichte. Gewiss können und müssen die Bilder die Vergangenheit erhellen, aber wichtiger noch ist, dass sie uns die Dunkelheit weisen. Das Irreduzible an der Geschichte ist das Irreduzible am Menschen, im Rest der bleibt, liegt der wahre Humanismus.

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Erstmal vernünftig diskutieren – Dialog II („Leipzig im Herbst“ 1989)

Oben, die nüchterne Titeltafel von Leipzig im Herbst, damals eine Hoffnung, heute ein Epitaph? Aber eine Hoffnung worauf? Und was liegt in diesem Film begraben?

Leipzig im Herbst beginnt, noch vor dem Titel, mit einer anderen Tafel. Der Film sei Teil eines kollektiv gesammelten, in mehreren Städten gefilmten Materials, als Reaktion auf die Ereignisse um den 40. Jahrestag der DDR am 7. Oktober 1989. In den wenigen Zeilen liegt eine große Dringlichkeit zur Zusammenarbeit und Dokumentation, die Notwendigkeit auch als Filmemacher an den aktuellen Ereignissen teilzunehmen und das Bedauern der bereits verpassten Möglichkeiten. Der 9. Oktober ist schon vorbei, das, was später als Friedliche Revolution bekannt geworden ist, geschehen.

Dennoch beginnt der Film mit den Bildern einer Massendemonstration in Leipzig; die Nachwehen des großen Tages. Immer noch scheint die halbe Stadt auf der Straße zu sein. Die Kamera teilt das Gesichtermeer, sie wird begrüßt mit Applaus von allen Seiten. Wir sind das Volk. Schaut her. Immer wieder quetschen sich Menschen von den Rändern ins Bild. Der Drang nach Sichtbarkeit ist groß. „Es wird Zeit, dass sich in diesem Land endlich etwas verändert, und das müssen wir zeigen. Worte alleine tun es nicht mehr“, lautet der erste in einer Reihe von O-Tönen. Erstaunlich ist die Offenheit der Menschen vor der Kamera, dass die immerhin von der DEFA – also der staatlichen – Dokumentarfilmabteilung kommt, interessiert nicht mehr. Endlich gesehen und gehört werden. Die journalistische Technik des Feldinterviews wird hier zu einer Geste des Zurücktretens vor den Menschen und ihrem demokratischen Grundverlangen der freien Meinungsäußerung. „Man soll dieses Volk endlich zu mündigen Bürgern machen, das beginnt bei der Freiheit des Wortes.“ Indem er diese Äußerung ermöglicht, eine Bühne baut, wo keine war, setzt der Film für einen Moment in einem quasi performativen Akt die Freiheit ins Recht. Er stellt sich demütig in den Dienst einer Sache, einer Sichtbarmachung, in den Dienst des Material; zeigen wie es ist.

Selbstverständlich gibt es auch hier eine Ordnung, eine Konstruktion, die vor allem durch Reihenfolge und Auswahl der Materialien, also durch die Montage hergestellt wird. Doch die Prinzipien dieser Ordnung entstehen voll und ganz aus der Beschaffenheit des Materials, gewissermaßen aus den historischen Bedürfnissen, die darin angelegt sind. Schon in der ersten Sequenz wird klar, es braucht einen Dialog. Immer wieder fordern die Menschen vor der Kamera diesen Dialog direkt, fordern eine Sichtbarmachung aller Positionen um eine gemeinsame Lösung zu entwickeln. Niemand schreit die Wiedervereinigung herbei. Am Ende des Films äußert ein junger Mann am Rand einer Demonstration: „Keiner will den Sozialismus hier grundsätzlich zerstören, aber wir müssen den Sozialismus ganz anders und ganz neu gestalten.“

Voigt konstruiert in seinem Film diesen Dialog aus Interviews mit den Vertretern der verschiedenen gesellschaftlichen Positionen. Mit Titelkarten werden sie jeweils angekündigt: Der Stadtrat. Die Straßenfeger. Die Arbeiter. Der Theologe. Wehrpflichtige der Volkspolizei. Der Kommandeur. Zunächst zeigt er die Positionen noch nacheinander, als voneinander getrennte Beiträge zu einer gemeinsamen Debatte.

Der Stadtrat sitzt zurückgezogen hinter seinem tiefen Schreibtisch und schiebt die Verantwortung für die Demonstrationen in Leipzig ab an die westdeutschen Medien. Einen Schnitt später, in einer Nahaufnahme, redet auch er von einem geordneten Dialog, den die Stadtverwaltung momentan überlege zu ermöglichen. Noch einen Schnitt weiter, sehen wir wie einige Straßenfeger die Protestplakate von den Toren des Rathauses entfernen, nahezu beiläufig zerstören und in großen Müllwagen verschwinden lassen. „Also aus Überzeugung hätte ich sie nicht abgemacht. Ich hätte sie drangelassen.“ „Weil ich was zu fressen brauche, ich finde keine Arbeit, weißte…“ Schon hier zeigt sich die paradoxale Natur des Vorhabens. Die filmische Struktur bringt eben in dem Versuch einen Dialog herzustellen, die Unvereinbarkeiten zwischen den Positionen, die unüberwindbaren Brüche, die diese Gesellschaft durchziehen, also die strukturelle Unmöglichkeit eines realen Dialogs zum Vorschein. Der offene Dialog ist eine Utopie. Doch gerade in dieser Erkenntnis findet Voigts Film die stärkste Kritik an einem System, das er gleichzeitig in Momenten größter Hoffnung überwindet, auf die Möglichkeit einer anderen Welt verweisend.

Das dialogische der Form wird im Laufe des Films immer weiter verstärkt, die Tafeln mit den Standesbezeichnungen verschwinden und die Redebeiträge greifen direkt ineinander und bilden gemeinsame Serien aus. Gegen Ende des Films werden die Ereignisse in Leipzig am 9. Oktober von verschiedenen Rednern rekonstruiert. Die Volkspolizisten, der Theologe Zimmermann, einer der Leipziger Sechs, und der Kommandeur der Volkspolizei fallen in eine gemeinsame Rede. Im Rückblick auf den Schrecken, der nur knapp verhinderten gewaltsamen Auflösung der Demonstration, ergänzen sich die Sätze des Theologen und des Kommandeurs plötzlich. In der Rückschau auf eine, trotz allem, gemeinsame Vergangenheit scheint die utopische Möglichkeit eines Dialogs wieder auf – um kurz danach durch die Bilder einer exerzierenden Bereitschaftspolizeieinheit wieder erstickt zu werden. Das Utopische ist ein Flackern.

Am Ende ist der Film wieder auf der Straße angekommen. Nochmal eine Demonstration. Auf die Frage, was jetzt zu tun sei, ergreift eine Frau das Wort: „Erstmal vernünftig diskutieren. Wenn ich keine Hoffnung hätte, wär ich nicht mehr hier. Wir hoffen hier alle, darum bleiben wir ja hier.“ Alltagsbilder von der Straßenbahnhaltestelle am blauen Wunder beenden den Film. Noch ist offen, was hier passiert. Heute wissen wir, einen offenen Dialog gab es nie, diese Möglichkeit wurde von der Geschichte überholt und begraben. Aber die Filme von Andreas Voigt erinnern uns, wie Grabinschriften, die uns neben dem Tod immer auch an die Möglichkeiten des Lebens erinnern, daran, dass die Utopie bleibt, die Utopie eines gleichberechtigten, freien Dialogs im Angesicht der gemeinsamen Geschichte. Lasst uns beginnen.

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  280. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  281. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass‘ favor.

  282. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  283. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  284. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  285. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass‘ favor.

  286. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass‘ favor.

  287. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‚Mixview‘ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of „neighbors“ will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune „Social“ is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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  290. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  291. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  292. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‚Mixview‘ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of „neighbors“ will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune „Social“ is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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