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332:, leads the miners as they attempt to replace their harsh and incompetent party boss, Weihrauch. Eventually, König is given Weihrauch's office. Lotte marries Beier, although she later realizes that she loves Sergei. When her husband is badly injured in an accident, he confides to the Soviet engineer that soldiers from his battalion murdered the latter's wife; Sergei replies that he knew it all along. Lotte and her baby son leave the mines and return to Berlin.
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Very shortly before it was to be released, the Soviet embassy in Berlin intervened and demanded to ban the film. While the exact details of the request are unknown, the
Soviets were worried that presenting a Uranium mine and its contribution to the nuclear arms race - in the film, the main motivation
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The ban was seen as an achievement for the film's opponents in the
Ministry of Culture, who viewed it as overly liberal. Mira and Antonin Liehm wrote that many interpreted it as caused by an intervention of those officials, rather than only of the Soviets. According to Dagmar Schittly, East German
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Stephen
Brockmann wrote that the picture's main motif was the sun - denied to the miners, working underground, and often hidden by smoke and soot. While the sun alternatively served as an allegory to the Uranium in the earth or to the workers' own elusive personal happiness, Brockmann stated that
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town" into East
Germany, and was in many ways reminiscent of classical Westerners, including "the saloon-fight scenes." Bruce Arthur Murray and Chris Wickham commented that "it might have been one of DEFA's most important films - had it been allowed to prove itself." Anke Pinkert also noted a
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The film was intended to be ready for release already in 1958, but the DEFA Commission and functionaries in the
Ministry of Culture disapproved of the negative portrayal of party boss Weihrauch and the less than pristine conduct of the workers. The film's supporters pointed out its committed
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of the miners was to insure peace by breaking the
American monopoly on atomic weapons - would undermine their position in the diplomatic struggle against the West. Although a publicity campaign took place in the months before, the film was denied release. On 5 October, a small article in
69:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
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man who tries to compensate for his past with hard work, and the Soviet engineer Sergei, whose wife was murdered by the
Germans in the war. In the meantime, Jupp König, a veteran communist whom Emmi once harbored from the
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Socialist-Realist narrative, its positive depiction of Soviet-German cooperation and its artistic merits; actor Erwin
Geschonneck used his influence to promote it. On 24 June 1959, after many deliberations,
412:: thousands of prostitutes were arrested and forced to work in the mines during the late 1940s, while many other miners were former servicemen of the Wehrmacht, the SS or ex-members of the Nazi Party.
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above all it symbolized the promised, Utopian society which communism sought to establish, and for which the miners had to toil hard in the conditions of first post-war years.
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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directors were strongly influenced by the picture's withdrawal, and avoided presenting any "real conflict" in their films. In 1972, after
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1950. After being arrested in a police raid, the two young prostitutes Lotte and Emmi are sent to the
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feminist agenda, common in East German cinema, with the lone woman Lutz as the chief protagonist.
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for the use of the USSR. Two men fall in love with Lotte: the director Beier, a former
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Zwischen Regie und Regime. Die
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to the source of your translation. A model attribution edit summary is
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Die Werktätigen in DEFA-Spielfilmen: Propaganda in den Filmen der DDR
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Framing the Past: The Historiography of German Cinema and Television
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The Most Important Art: Soviet and Eastern European Film After 1945
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rose to power, Wolf convinced him to allow the picture in cinemas.
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during 1958. It was banned and subsequently released only in 1972.
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Seán Allan and John Sandford wrote that the film imported a "
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a machine-translated version of the German article.
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420:was shown to the entire Politburo, including
458:'s Art Prize, in recognition of his work on
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392:Vladimir Eemelyanov: Colonel Fedoseev
642:Bruce Arthur Murray, Chris Wickham.
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935:Films about prostitution in Germany
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371:Erich Franz: Weihrauch
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155:Hans-Joachim Schoeppe
110:Knowledge:Translation
81:copyright attribution
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501:Stephen Brockmann.
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736:Films directed by
295:film, directed by
89:interlanguage link
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890:East German films
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814:The Little Prince
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529:Dagmar Schittly.
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380:: Berta Mattusche
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278:Sun Seekers
250:114 minutes
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135:Konrad Wolf
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854:Solo Sunny
675:. Page 89.
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484:References
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311:. There,
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321:Uranium
317:Soviets
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865:(1981)
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