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{
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"id": "https://poa.st/users/vidkunquisling/collections/featured",
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"content": "I rate this movie 14.88/10<br/><br/>Kolberg (1945) is a feminist, egalitarian anti-war film with climate-sensitive themes. It was produced by Veit Harlan and Alfred Braun, with probable supervision and direction from the famous film critic Joseph Goebbels. Not only does the film reject imperial ambition, but it’s central, democratic message is that the people should be able to check the state and it’s bureaucracy. <br/><br/><br/><br/><br/>The film features two strong female characters, a peasant girl, Maria, and Queen Louise of Prussia. They are played by the Swede Kristina Söderbaum and Irene von Meyendorff, respectively. The film passes the Bechdel test as the two have an extended dialogue at the apex of the plot, making it truly a feminist film. This is quite remarkable for it being made in 1945. The Queen treats the peasant girl as an equal, welcoming her into her court with open arms. One could interpret this only through a gender lens, but this would be to ignore German cultural norms, and so would be culturally insensitive. Maria and the Queen engaged with one another primarily as fellow Germans. Thus, their interaction overcomes class division.<br/><br/>Maria plays the lead role in the movie. Her nurturing presence becomes the cornerstone of her family, providing her brothers and her love interest with moral support from which they are able to fight for the liberation of their people. One of Maria’s biggest challenges is to mend divisions between family members and other towns people, helping them over their shortcomings so that they can focus on the fight. While Maria is firmly non-violent throughout the film, she fights fanatically for her people. At one point, Maria slips through French lines to deliver a message to Queen Louise, on behalf of Kolberg’s burghers. <br/><br/>Kolberg shows the damages of total war on an oppressed, civilian population. In it’s historical context, the German lands were held by the Napoleonic Empire, while the Prussian King was mostly impotent. The people of Kolberg, rising up against their oppressors, were brutally shot down with cannon shot, their city, along with their houses and possessions, set ablaze. The motivation of the Kolberg people is not on behalf of the Prussian King, who is mostly absent in the film. Rather, they seek to liberate the city on behalf of the German people. A remarkably progressively minded people.<br/><br/>Finally, the movie is consistently sensitive to climate topics. The film features numerous shots showing the seasons change in Kolberg. The townspeople also have to cope with rising water levels at one point in the film. Despite there being festival scenes and other scenes of people eating, no one in the film is seen eating meat. Thus the film is also vegetarian.<br/><br/>In conclusion, Kolberg is a humanitarian and egalitarian movie that challenged the norms of it’s contemporaries. Kolberg remains as a valuable piece of film for it’s support of progressive values.<br/><br/><a href=\"https://www.youtube.com/watch?v=YvePjfbSMS4&t=721s&ab_channel=%2F%2F\" rel=\"noopener\">youtube.com/watch?v=YvePjfbSMS4&t=721s&ab_channel=%2F%2F</a>",
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"id": "https://poa.st/objects/c7daa5d9-5222-4d4c-8458-073926a6f466",
"published": "2022-10-18T16:13:47.608152Z",
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"content": "I rate this movie 14.88/10\n\nKolberg (1945) is a feminist, egalitarian anti-war film with climate-sensitive themes. It was produced by Veit Harlan and Alfred Braun, with probable supervision and direction from the famous film critic Joseph Goebbels. Not only does the film reject imperial ambition, but it’s central, democratic message is that the people should be able to check the state and it’s bureaucracy. \n\n\n\n\nThe film features two strong female characters, a peasant girl, Maria, and Queen Louise of Prussia. They are played by the Swede Kristina Söderbaum and Irene von Meyendorff, respectively. The film passes the Bechdel test as the two have an extended dialogue at the apex of the plot, making it truly a feminist film. This is quite remarkable for it being made in 1945. The Queen treats the peasant girl as an equal, welcoming her into her court with open arms. One could interpret this only through a gender lens, but this would be to ignore German cultural norms, and so would be culturally insensitive. Maria and the Queen engaged with one another primarily as fellow Germans. Thus, their interaction overcomes class division.\n\nMaria plays the lead role in the movie. Her nurturing presence becomes the cornerstone of her family, providing her brothers and her love interest with moral support from which they are able to fight for the liberation of their people. One of Maria’s biggest challenges is to mend divisions between family members and other towns people, helping them over their shortcomings so that they can focus on the fight. While Maria is firmly non-violent throughout the film, she fights fanatically for her people. At one point, Maria slips through French lines to deliver a message to Queen Louise, on behalf of Kolberg’s burghers. \n\nKolberg shows the damages of total war on an oppressed, civilian population. In it’s historical context, the German lands were held by the Napoleonic Empire, while the Prussian King was mostly impotent. The people of Kolberg, rising up against their oppressors, were brutally shot down with cannon shot, their city, along with their houses and possessions, set ablaze. The motivation of the Kolberg people is not on behalf of the Prussian King, who is mostly absent in the film. Rather, they seek to liberate the city on behalf of the German people. A remarkably progressively minded people.\n\nFinally, the movie is consistently sensitive to climate topics. The film features numerous shots showing the seasons change in Kolberg. The townspeople also have to cope with rising water levels at one point in the film. Despite there being festival scenes and other scenes of people eating, no one in the film is seen eating meat. Thus the film is also vegetarian.\n\nIn conclusion, Kolberg is a humanitarian and egalitarian movie that challenged the norms of it’s contemporaries. Kolberg remains as a valuable piece of film for it’s support of progressive values.\n\nhttps://www.youtube.com/watch?v=YvePjfbSMS4&t=721s&ab_channel=%2F%2F",
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