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Extra info for Berlin school glossary : an ABC of the new wave in German cinema
It is restored and sustained when the silence is pierced by a cawing crow, followed by lapping water or the wind rustling the leaves on a tree—sounds she heard at the beginning of her fantasy. At the same time, whenever the sound of water, rustling leaves or the cawing of a crow returns during her vision, it portends her death on the shores of the Elbe. After the second, actual and fatal crash, Yella’s body is pulled out of the river and laid in the same position on the same spot on the shore that she had assumed when she dragged herself out of the river in the earlier scene.
Critical to the cultural, economic, and spatial integration of the unified capital within the greater region, this German state encircling what was once West Berlin has gradually regained its pre-Cold War status as the city’s organic outskirts and countryside, a place of recreation and real estate investment for Berliners of means. No longer a border between the political ideologies of the two German states, this partner in Berlin’s regional film funding has been annexed narratively in numerous city–country dichotomies (along with Mecklenburg-Vorpommern and Saxony-Anhalt), used to furnish a variety of fictional film landscapes, and increasingly extolled in the pages of Berlin magazines Zitty and Tip.
4]. In the virtual absence of other sounds during this scene, the scraping stands out dramatically. It not only symbolizes the tension between Nina and Frieder, it also conveys it physically to the viewer. Later, on the Monday referenced in the title, and after Nina and Frieder’s relationship has further disintegrated, a construction crew is working feverishly to install the couple’s new windows. As the manager explains that they could not get the particular wooden frames he wanted, Frieder walks around mum, clearly unappeased by the attempts to satisfy him with an alternative.