身份和空间在德国电影描绘了东德自柏林墙倒下的表示。1961、柏林墙，所谓的“Antifaschistischer Schutzwall”的东德，德国建立分为东德和西德。从那时起，东德的空间被描述为一个空洞，东德人民被遗忘在西德的历史上。因此，柏林墙在1989年后，人们和空间开始出现在西方的历史。正如海森所描述的：“当柏林墙倒下，另加一章叙事空隙，一章，带回来的阴影过去和幽灵亡魂。”（Andrea Huyssen 1997:64）相反，在东德人仍然保持自己的东德记忆即使民主德国不存在了。德国的“东德情结”表明，复杂的思想和情绪仍然漂浮在人们心目中的存在。判断情绪的存在是没有必要的。差异的东德和西德之间仍然存在。在东德的生活阴影不断出现在艺术领域，无论在音乐或电影。身份的变化和GDR空间的问题值得探讨。
The Representation of Identity and Space in German Film Making Portraying the East German since the Berlin Wall Fell. In 1961, the Berlin Wall, so-called “Antifaschistischer Schutzwall” by East German, was built to divide German into East German and West German. Since then the space of East German represented as a void and the people of East German were forgotten in the history of West German. Therefore, after the Berlin Wall fell in 1989, the people and the space started to appear in the history of West German. As Huyssen describes: “When the wall came down, Berlin added another chapter to its narrative of voids, a chapter that brought back shadows of the past and spooky revenants.” (Andrea Huyssen 1997:64) Contrary, people in East German still keep their memory of the GDR even though the GDR does not exist anymore. The existence of the German term “ostalgie” shows that the complicated thoughts and emotions are still floating around people’s mind. It is not necessary to judge the presence of the sentiment. The difference between East German and West German is still subsisting. The shadow of the lives in GDR keeps appearing in the art area, no matter in music or movies. The issue of the change of identity and the GDR space is worth to discuss.
Clarke mentions: “In the second half of the 1990s,â€¦, there were signs that German filmmakers were returning to specifically German issues, though they were using popular idioms to explore crucial issues of identity.” (Clarke 2006, P.13) Before 1990s, the genre of German cinema was about the terrorism, aesthetics and politics films. However, after the Berlin Wall fell, many film makers start to make the films that talk about the identity issue between East German and West German because people eager to understand the lives in the other side. The recent most well-know movies are Goodbye, Lenin! (2003) and The Lives of Others (2006). Both of the movies not only embody the ostalgie emotions in screen but also the combination of belief cracks after the GDR collapsed. The former uses the fantasy and good intention of lies to express their feelings in order to protect a red dream which no longer exist. (The representative color of socialist is red.) The latter presents the brutal reality and cruel memory. It calmly exposes the violence of the autocracy which is swallowing up the conscience of every German. Goodbye, Lenin! uses a witty way to present the lives in East Berlin. Hence, my teammate and I decide to choose this movie as a case study in the presentation.