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The Lives of Others 2006

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Ivan Kolmogorov

on 21 October 2015

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Transcript of The Lives of Others 2006

Who are the "Others"?
THERS
THE LIVES OF


The film is literary (the plot, the characters development, the lack of action, visualization and details are very important)
The film is interesting, complex and contrasting in terms of East/West discourse
The characters are stereotypical and could be used as a representation of a particular part of society

Why “The Lives of Others” is interesting to analyze:


Dreyman and Sieland as a creative class
Wiesler and Grubitz as Stazi members
Bruno Hemph as a higher power
Dreyman as writer NOT in opposition to regime

Thesis statement
I want to argue that “The lives of others” is not a critique of political regime, but a critique of a human being. I want to ask how art in general (not Wiesler or Dreyman) becomes a protagonist of the film. To answer this question I would look at all forms of art presented in the film: music, literature, plays, etc. and indicate their influence on main characters.
Binary oppositions
Wiesler <-> Dreyman (+Sieland)

Secret Police <-> Writer

Ordinary <-> Intellectuals

Bad <-> Good

*East <-> West


Character's Development
Dreyman - From being loyal to regime - to clear opposition
BUT his opposition is against particular injustice, he never meant to be a traitor or opposed himself to the State's political regime.
Character development
Wiesler is a main character. His character's evolution is the most significant one and links all the plot lines in the movie.
The evolution of Wiesler
The aim and reasons of surveillance
The role of Art
Good Man
The irony of Anecdote Scene
Is Art a protagonist?
Art plays the central role in re-creation of a human in Wiesler's character. From Brecht to Sonata of a Good Man - art leads Wiesler to the right path.
A critique of regime or
a critique of the men in power?
“…(Wiesler) who, as the movie develops, begins to question how the political system he so very much believes in is (mis)used by those in power”
(Schmeidl, 557).
Full transcript