But somehow it was only television: West German Narratives of the fall of the Wall in recent novels and their screen adaptations

East Germans have long been criticised for harbouring a feeling of Ostalgie, a nostalgia for their old, Socialist state, but only recently has it become apparent that many west Germans obviously experience a similar sense of loss and longing for a seemingly simpler time before reunification. The texts that express these feelings tend to focus on the fall of the Wall as the pivotal point of change in German post-war history. Typically the characters in these books deny the significance and impact of this major political event and strive to reduce its importance, at best to a minor television moment. This attitude can be observed in the novels liegen lernen and Herr Lehmann and in their film adaptations. Despite having been accused of indulging a feeling of Westalgie, a closer analysis reveals that they are in fact deliberately provocative and challenge eastern and western stereotypes. In addition the films find ways to transport the books’ ironic narrative to the screen, and they also reinforce the authors’ implicitly critical attitude towards their characters’ political apathy by portraying the fall of the Wall in ways different to the books. The films react to the provocation voiced in the novels and function like an intertextual commentary as they integrate the opening of the border into a meaningful context for the protagonists and restore it to its historic importance.

Perception while watching movies:effects of physical screen size and scene type

Over the last decade, television screens and display monitors have increased in size considerably, but has this improved our televisual experience? Our working hypothesis was that the audiences adopt a general strategy that “bigger is better.” However, as our visual perceptions do not tap directly into basic retinal image properties such as retinal image size (C. A. Burbeck, 1987), we wondered whether object size itself might be an important factor. To test this, we needed a task that would tap into the subjective experiences of participants watching a movie on different-sized displays with the same retinal subtense. Our participants used a line bisection task to self-report their level of “presence” (i.e., their involvement with the movie) at several target locations that were probed in a 45-min section of the movie “The Good, The Bad, and The Ugly.” Measures of pupil dilation and reaction time to the probes were also obtained. In Experiment 1, we found that subjective ratings of presence increased with physical screen size, supporting our hypothesis. Face scenes also produced higher presence scores than landscape scenes for both screen sizes. In Experiment 2, reaction time and pupil dilation results showed the same trends as the presence ratings and pupil dilation correlated with presence ratings, providing some validation of the method. Overall, the results suggest that real-time measures of subjective presence might be a valuable tool for measuring audience experience for different types of (i) display and (ii) audiovisual material.