Between the lines: Konrad Wolf's 'Mama, ich lebe' and the dilemmas of betrayal

The article offers a close reading of Konrad Wolf’s anti-fascist Second World War film 'Mama, ich lebe' (DEFA, 1977). 'Mama, ich lebe', like all East German films about the Nazi past, deals with the re-founding of post-war Germany. Unlike the usual approach which focused on political redemption of the past crimes, Wolf’s approach explores rupture and failure of political agency as the pre-condition for a new beginning. The rupture is effected by the defection of four Wehrmacht soldiers who decide to cooperate with the Soviet enemy. Their betrayal of the national collective is ethically motivated and arises from their responsibility for the Soviet ‘other’. Its radicalness opens up a moment of utopian freedom and conciliation for the traitors. Yet the back side of betrayal is insecurity and confliction with regard to their role and roots. While the four meet their role as traitors with self-deception about their ambivalent position, they are eventually forced to acknowledge their position as one of self-defeat. Their ‘ethical betrayal’ (Parikh 2009) does therefore not lead to utopian fulfilment but to the traitors’ expiatory sacrifice as the only form of accountability and self-justification. In Wolf’s film antifascism as a tale of political redemption is thus revised and becomes a tale of necessary individual atonement.

Conditional transgenic expression of fibroblast growth factor 9 in the adult mouse heart reduces heart failure mortality after myocardial infarction

BACKGROUND: Fibroblast growth factor 9 (FGF9) is secreted from bone marrow cells, which have been shown to improve systolic function after myocardial infarction (MI) in a clinical trial. FGF9 promotes cardiac vascularization during embryonic development but is only weakly expressed in the adult heart. METHODS AND RESULTS: We used a tetracycline-responsive binary transgene system based on the α-myosin heavy chain promoter to test whether conditional expression of FGF9 in the adult myocardium supports adaptation after MI. In sham-operated mice, transgenic FGF9 stimulated left ventricular hypertrophy with microvessel expansion and preserved systolic and diastolic function. After coronary artery ligation, transgenic FGF9 enhanced hypertrophy of the noninfarcted left ventricular myocardium with increased microvessel density, reduced interstitial fibrosis, attenuated fetal gene expression, and improved systolic function. Heart failure mortality after MI was markedly reduced by transgenic FGF9, whereas rupture rates were not affected. Adenoviral FGF9 gene transfer after MI similarly promoted left ventricular hypertrophy with improved systolic function and reduced heart failure mortality. Mechanistically, FGF9 stimulated proliferation and network formation of endothelial cells but induced no direct hypertrophic effects in neonatal or adult rat cardiomyocytes in vitro. FGF9-stimulated endothelial cell supernatants, however, induced cardiomyocyte hypertrophy via paracrine release of bone morphogenetic protein 6. In accord with this observation, expression of bone morphogenetic protein 6 and phosphorylation of its downstream targets SMAD1/5 were increased in the myocardium of FGF9 transgenic mice. CONCLUSIONS: Conditional expression of FGF9 promotes myocardial vascularization and hypertrophy with enhanced systolic function and reduced heart failure mortality after MI. These observations suggest a previously unrecognized therapeutic potential for FGF9 after MI.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).