The Wave (2008)

from Wikipedia, the free encyclopedia
Movie
Original title The wave
Diewelle-movie-logo.svg
Country of production Germany
original language German
Publishing year 2008
length 107 minutes
Age rating FSK 12
JMK 12
Rod
Director Dennis Gansel
script Dennis Gansel
Peter Thorwarth
production Christian Becker
Nina Maag
Anita Schneider
music Heiko Maile
camera Torsten Breuer
cut Ueli Christians
occupation

Die Welle is a German film drama from 2008. Jürgen Vogel plays a teacher who shows his school class in a social experiment he designed how autocratic, fascistic social structures arise. He lets students participate in a self-led movement called The Wave , which is characterized by discipline and community spirit. Director and screenwriter Dennis Gansel based his plot on the experiment " The Third Wave ", which took place in 1967 in California. On the basis of this experiment, Morton Rhue wrote the novel Die Welle (1981), which has become a classic for school reading in Germany and Austria. For the film, Gansel chose a staging approach that should make the seduction through movement tangible for the audience. In Germany, two and a half million visitors saw the film in cinemas.

Template and plot

From school experiment to school material

The Wave is not the first film to depict a social experiment conducted in the United States as a fictionalized game plot. The Stanford Prison Experiment from 1971 served as the template for Das Experiment (2001) by Oliver Hirschbiegel . Dennis Gansel's Die Welle is based on the experiment " The Third Wave ", which the teacher Ron Jones carried out in 1967 at a school in California . Because his students did not understand how National Socialism could come about at all , he set up a "movement" which he led totalitarian with strict discipline and punishment for rule violations as the sole ruler. Many students were enthusiastic about the sense of community they experienced, and even some from other classes joined them. Jones later openly admitted that he enjoyed the students' following very much. In order to stop the momentum released by the attempt, he broke it off on the fifth day and showed the young people the parallels between their movement and Nazi youth organizations .

Jones later wrote a narrative based on the events that appeared in 1976 under the title The Third Wave . The material was filmed in 1981 for US television under the title The Wave . In the same year the novel The Wave by Morton Rhue was published . The German edition of the novel came out in 1984, has become a popular reading material in many German schools and has since sold over 2.5 million copies. The 1981 film is also available from almost all public media centers . The material was used in a number of plays and role-plays around the world.

Story of the movie

The focus of the story, which takes place in a fictional German city and in upper social classes, is the high school teacher Rainer Wenger and his students. During a school project week on the topic of "forms of government ", the laid-back Wenger, who was once a squatters in Berlin-Kreuzberg and who is on the terms of the students, is given the topic of autocracy instead of his preferred topic of anarchy . His students find the repeated "chewing through" the topic boring on the basis of National Socialism and believe that there is no longer any risk of dictatorship in today's enlightened Germany. So Wenger decides to conduct the week as an educational self-experiment.

He changes the seating arrangement to a frontal position and asks the students to stand up while speaking and give quick, concise answers. Then he has them march in lockstep on the spot for physical exercise. He brings these exercises as suggestions for you to vote on. The strict tone and discipline go down well with most students and make them more motivated. Finally, for demonstration purposes, the teacher - he no longer informs the students about this - founds a kind of autocratic movement. The principles of the group are "power through discipline", "power through community" and "power through action". All members of the group should wear white shirts as a distinguishing feature and a kind of uniform. Two girls protest against these regulations, finally change course and are therefore exposed to increasing hostility among friends. Meanwhile, word of mouth has attracted students from other courses to the course. In their enthusiasm, individual students ask the teacher to give the whole thing a name. The still democratic vote results in the name “Die Welle”, one of the students designs a logo and a common greeting gesture is introduced. New ideas emerge to spread the “wave” and get involved in the movement. Soon the “wave” left the framework of the lesson and permeates everyday life outside of school. The once sluggish theater rehearsals are gaining structure and the water polo team trained by Wenger has more viewers. The cohesion grows, the Welle members protect each other from outside mobsters, spray the Welle logo at night in wild group actions on walls all over the city and organize a spontaneous party.

The student Tim, formerly a disrespected outsider and now the most ardent supporter of the “wave”, declares himself to be Wenger's personal bodyguard. The teacher isn't enthusiastic about it at first, but allows it due to Tim's family problems. Conversely, the liberal-minded Karo resists movement, initially because it doesn't like the white shirt, but more and more because it recognizes the dangers of movement. When she copied leaflets one night alone in the school building and laid them out in front of every classroom, she felt persecuted. Gradually the experiment gets out of hand. Wenger can no longer stop the movement, let alone grasp the dynamics that are taking place outside of school. His wife, a teacher at the same school, accuses him of enjoying his leadership role, but he ignores her warnings. Only when there were acts of violence against people who resisted the wave did Wenger decide to end the experiment and break up the movement.

On the Saturday after the start of the project, Wenger invites the supporters to a general meeting. First he creates a mood, incites her against an opposing student and orders him to be brought on stage. He calls him a traitor. Then he asks one of the students who brought the opponent onto the stage why he did this. “Because you said so.” Wenger asks the students critically whether they would have killed the dissident if he had ordered that. When he explains to the audience that everything was just an experiment and is now over, individual students do not want to see the end of their movement and passionately defend their “wave”. After Wenger struggled to assert himself against this initial reaction and was able to convince the majority, the pupils were initially silent. The desperate Tim then pulls a pistol , announces that “the wave is alive!” And first shoots a classmate. When Wenger calms him down, Tim takes the gun down again. Since the "wave" was Tim's life, as he desperately announces, he then shoots himself. The students are traumatized and Wenger is taken away by the police.

Finally you can see how he sits in the police car and realizes in disbelief the extent of his experiment.

Origin background

The script is based on an article by Ron Jones, in which he described his memories of the experiment. The rights that were with Sony were given to Dennis Gansel for a German film. As a result, Morton Rhue, whose novel popularized the material, especially in Germany, and the publishing house Ravensburger, did not receive any direct remuneration from the film project. Gansel wrote the book for a year before hiring Peter Thorwarth as a co-author. The script moves the experiment from California in the 1960s to Germany today, to a place that is never named and represents the entire country. Gansel stated that he did not retell Jones' attempt exactly, but wanted to show how it would work in Germany today. The film is not an adaptation , characters and dialogues, the beginning and end have been changed. These include secondary aspects - the football team in the original plays water polo in the film, and the coach is the teacher himself - but above all the physical violence introduced in the film and the bloody ending. Nevertheless, Gansel claimed in a press conference that he absolutely wanted to rule out that his film deviated as much from the attempt at the time as Rhue's book. He described Jones, who was available as a consultant for the film project, as "practically our living certificate of authenticity" . Jones think the characters in Rhue's novel are badly hit. The ex-teacher said that Gansel's film was "incredibly close" to the actual events .

According to Gansel, the representatives of the Bavarian film subsidy, which was initially requested, rejected the film project because they judged it to be very close to Rhue's novel and lacked a clear stance on the part of the teacher against authoritarian thinking in the script. The project was in jeopardy and the first funding body to get involved was the Medienboard Berlin-Brandenburg . Then came the Filmförderungsanstalt and the German Filmförderfonds as well as a few other co-producers, Constantin Film , which also took over the distribution. With a budget of 4.5 million euros, the project took 38 days of shooting.

The Marie-Curie-Gymnasium in Dallgow-Döberitz

The shooting took place in July and August 2007. Because of the tight schedule, some daytime scenes were shot at night. For most of the scenes, you set up the lights in the morning and then you could work all day without any changes. Hence the light comes from only one side. The only possible location for Gansel was a modern school building, which could not give the impression that Nazis had already taught there and that had nothing Wilhelmine about it. The choice fell on the recently occupied new building of the Marie-Curie-Gymnasium in Dallgow-Döberitz in Brandenburg , which most extras attended as pupils. The recordings around the water polo game were made in the Paracelsus-Bad in Berlin-Reinickendorf . Other locations are in Potsdam, the capital of Brandenburg : The scenes of the beach party were filmed there on escalators and in shops in the Stern-Center shopping center , the scenes of the beach party were created in the warehouse district of Potsdam , which was not yet fully developed , and the former technical college building at the old one The market can be seen several times. The Nikolaikirche , which is also located on the Alter Markt, served as the town hall in the film, where the daring scenes were created on the church's renovation scaffolding, in order to immortalize the Welle logo on the cladding.

It was not originally planned to cast Wenger's wife Christiane Paul , who was seven months pregnant during the shoot - as shown in the film at the beginning. Ron Jones can be seen briefly as a guest in the restaurant when the young people spray the logo on the building. The director took on a small supporting role, once at the first party and once in the hallway in front of Marco's apartment. Gansel and Jennifer Ulrich , who played the Karo, became a couple while filming.

Essence of the film

Gansel's concept

Dennis Gansel said that the German students were tired of the subject of National Socialism . He had noticed that himself was oversaturated in class and only found an emotional connection to German National Socialist history after the film Schindler's List . He made a difference between the experiment in the USA at the time and Germany today in the fact that the American students were shocked and asked themselves how there could be concentration camps . The starting point of his film is that one feels immune to it due to the intensive preoccupation with National Socialism and its mechanisms. “That is exactly where the great danger lies. It is interesting that you always think that something like this happens to others and never to yourself. You blame it on others, the less well-educated or the East Germans, etc. But in the Third Reich, the caretaker was just as fascinated by the movement as an intellectual . "

The affluent place has no noticeable social or economic problems and the teacher has a liberal lifestyle. For Gansel, setting up in such an environment gives the action a general psychological validity, of which he is very convinced. “Everyone always thinks that they would have been Anne Franks and Sophie Scholls in Hitler's Germany . I think that's outright nonsense. Resistance biographies tend to arise out of coincidence. ” Karos political awareness and her opposition stance arise from vanity: She doesn't like the white shirt. He used to be sure that he was part of the resistance, but while working on the wave he noticed that the appropriation was "so apolitical" . Everyone has the need to belong to a group. The anti-globalization movement and other current youth political movements functioned similarly to the wave because they had the same group dynamic . The respective objective is decisive.

He does not believe that films can have a greater political impact, especially since a film only reaches those who are already sensitive to the subject. At most, films could spark discussion, but to do that they would have to be extremely entertaining. "There was always a big misunderstanding in Germany that politics in the cinema is synonymous with boredom." There is an enormous gap in Germany between high-quality cinema in the manner of Christian Petzold and entertainment comedies by Til Schweiger, which needs to be filled urgently. He designed the film in such a way that it “comes across as seductive” to the audience, arouses the desire for the wave and shows the attraction of such a movement. He chose Jürgen Vogel as the main actor because he wanted someone in this role whom one would have liked to have as a teacher, Vogel brought real life experience and a certain kind of authority. In his school days, it was this type of teacher whom he trusted the most. The director, whose grandfather had been a Wehrmacht officer, announced at the same time that with the wave the subject of National Socialism was closed for him as a filmmaker.

Formal implementation

Teacher Wenger's relaxed demeanor at the beginning of the film initially encourages the expectation of a comedy . Reviewers have noted a proximity to those American films in which qualified educators evoke the potential of disadvantaged students, such as The Dead Poets Club , and the US high school film, in which each character represents a particular type of youth. Gansel focuses less on the psychological motivational processes of the individual characters than on the resulting sense of community. His screenplay co-author Thorwarth emphasized that you have to draw the characters very clearly if you don't want to lose the narrative thread because of their multitude. The film is structured by the five days of the project week, with the beginning of each new day of the week being indicated by an overlay.

The narrative style does not keep the audience at a distance so that they can reflect on what they have seen, but rather lets them experience the events. So he tells the story in a linear fashion. Similar experiences of several characters, for example when the students tell their parents about the school day in the evening, are implemented as a parallel montage and demonstrate the range of perceptions of the day. The narrative perspective of the entire film is that of a third person, even if he adopts the subjective view of individual characters in individual sequences, such as those diamonds at night in the school building or the Wengers at the end when he is being led away and driven away. If he was filmed from below in the opening sequence and sang to rock music, the teacher is clearly depressed during this trip. "Long slow motion shots reflect [his] agonizing self-reproach". The change to the subjective view of the thoughtful figure corresponds to the overall dramaturgy of the film, which at this point calls the viewer to reflect. Gansel justified the drastic end with the need to finally shock the audience after being seduced by the length of the film, to deliver a clear counter-statement and to take a stand. One critic suspected “that in this country you can't just say Adolf without saying B too. So whoever unleashes fascism will have to deliver a few dead. "

Throughout the film, the camera uses top and bottom views to express power relationships of who is “up” and who is “down”. In some shots, the film is based on the stylistic devices of Nazi newsreels that captured Hitler's speeches. For example, during the closing speech Wenger gives in front of the plenum, the camera is placed close behind him at neck level and offers a view past him to the geometrically arranged crowd of students. Other scenes are based on pop culture, in particular the sequence in which wave fans spray the logo on buildings is staged in the style of a music video . This logo is designed as “a jagged tsunami wave like from a manga comic” . The cuts have a high frequency and are hard, “the camera work is fast, yes, rapid” and the rock music, which is laid over many scenes, was often characterized as “driving” .

criticism

About actors, characters and staging

The German criticism of Die Welle was very divided. Opinions were only divided with regard to the actors. "From the first scene this likable guy pulls the audience on his side," said Jürgen Vogel, who translates the moral ambiguity of his character into "mercury energy" . He plays realistically, is "believable" or ideally cast. Among the young actors, “convincing” was the most frequently used word, with the 18-year-old Frederick Lau being emphasized in the role of the outsider Tim.

In contrast to the praise for the actors, many reviewers expressed concerns about the characters drafted by the script. Psychological developments are neglected, Wenger and the other characters are sometimes drawn using clichés, they have “something model- like ” about them , they are “slightly exaggerated stereotypes” or “placeholders” . In the absence of any deepening in their motives and feelings, they appeared distant, especially Karo's change from enthusiastic participant to militant opponent was incomprehensible. There is no compelling motivation to be seen among the students, which is why they join the movement at all, their commitment to conformity is hardly imaginable in the West today. The film therefore “often has a very educational effect : you know what is meant, but you just don't really believe it.” The alleged bondage of the wave followers is also undermined by excessive partying and tagging . Why the teacher, who has established himself as a personality, succumbs to the role-play he has set up himself remains “somewhat puzzling” . Since Gansel ascribes to him a position as a leftist and former squatter, he involuntarily provides evidence for Götz Aly's thesis that the 68ers spun off authoritarian ideas from the 33s Nazis. But the figure drawing of the film was also defended: "The categorization is rather necessary here, as it shows the susceptibility of completely different people to one and the same idea."

There was also disagreement about the staging. The flick is exciting, disturbing and captivating, and treat difficult material as exciting entertainment, according to some judgments. For a mainstream film, Die Welle is often “pleasantly rough and snotty.” Others found the film conservative, similar to a crime scene - a TV crime thriller, staged, or commented on the “graffiti action and a sprawling party in lengthy length” . The evaluation of the end of the film written by Gansel was also controversial. At school massacres oriented, it did not fit the theme of the authoritarian structures. The escalation to amok is unnecessary, because Jones' experiment has already demonstrated an everyday fascism without blood. But there was also praise for the fact that the wave movement did not just implode with an aha-effect , but caused an instructive shock in the students. Fiction films that are also supposed to be useful as teaching material are difficult to produce because the students are left unimpressed with messages that are too direct and clumsy, as does an overly subtle film language . Gansel had reached a compromise, he showed the problems, but left the audience the opportunity to see them for themselves. The concept of making the audience feel a terrible social order and disturbing it works. The strip seeks closeness to the object and makes being seduced and fascination plausible. As a “valuable contribution to the discussion” about the needs of the individual in society, it does not give ready-made answers and encourages discussion. "The wave is the right film at the right time," because it shows where the emerging discussions about school uniforms and the praise of discipline could lead.

To the experiment

The premises and results of the social experiment presented were a focus of criticism. The transfer of the experiment from the United States to Germany did not convince Julia Teichmann from the Berliner Zeitung . The historically increased sensitivity for authoritarian approaches in Germany would have caused the attempt to fail quickly at various control bodies. In the Süddeutsche Zeitung discussed Tobias Kniebe the film, which had little to do with the attempt of 1967, negative. Gansel explains undifferentiated the feeling of community as dangerous: “But if you want to warn against fascism, of all things, that it robs it of all content; who locates the danger in a completely unhistorical and undifferentiated way in nowhere; and whoever pretends to be vigilant - that is more of a part of the problem than a part of the solution. ” Ekkehard Knörrer from the taz also completely rejected the film . For him, Gansel has already proven his affinity for Nazis with Napola (2004), and although the director declared both films as a warning, both times he was naively addicted to the lust for the authoritarian communities shown. The wave is “just foolish,” Gansel is completely “ fixated on the secondary virtue of craftsmanship” , and sees art as showing off and not as a search for an expression for a certain content. He lacks an explanation for the emergence of a fascist youth movement, so that the dialogues were recited and the pictures seemed clichéd. “The idea of ​​breaking the story out of all the more precise geographical and social contexts is as characteristic as it is fundamentally wrong.” In his films, Gansel suggests passive behavior to the audience as a means of identification and subordinates “a behavioral determinism that makes followers the most natural thing in the world can appear. " the attempt was to prove what condition is the test, namely that people could not help. “The human being in his bondage is just the laboratory rat who is transported [...] into nowhere of a supposed general validity. The principle of generalization is not the sharpening and exaggeration, but the reduction: the individual to the experimental mouse, the behavior to its determination [...] and the personal decision to its motivation. ” Gansel's film works according to the same pattern as The Experiment and The Downfall (both by Oliver Hirschbiegel ), and how why men don't listen and women park badly and elementary particles , all produced by Constantin . Only boring on their own, these films together would result in a widespread social and gender-political setback.

In contrast, Hanns-Georg Rodek von der Welt expressed himself benevolently about the film and its experimental arrangement in the style of Das Experiment . While the director with Napola seemed to succumb to the National Socialist aesthetic, he is more distant here and provides a brilliant analysis of the method by which a community subjugates the individual. In doing so, the audience must first overcome the reflex of disbelief that derives from one of the principles of the Federal Republic, namely that totalitarian structures should never arise again. "Gansel plays out his drama with the mechanics of a Brechtian didactic play, from the innocent Monday to the deadly Saturday." This justifies the "stereotypical," "clearly contoured" characters with assigned functions such as previously disadvantaged, followers or resistance: "Experiments clearly need defined parameters. ” In his review in Spiegel Online that tended to agree , Christoph Cadenbach recommended the film for class. He gives a lot of space to those longings, which are the gaps in the soul of the characters in which fascism is digging. However, the critic complained that the film left out an important longing. “The outsider, the foreigner, the hedonist and the lower class. They are all vulnerable to the community pledge of the "wave". In this list, and you have to blame the film, the figure of the driven teenager, the child of neoliberalism who has adapted to the market economy and rushes from the internship to the gym to the theater rehearsal, is missing, because he knows that he is alone for it what becomes of him is responsible. Even this harried careerist would have enjoyed a swim in the wave water. ” But of all things Karo, who comes closest to such a figure, represents the resistance against the movement. In this way, the film uncritically gives absolution to the performance thinking of the market economy.

Abroad

The Italian Corriere della Sera regretted that the politico-pathological topic was associated with a banal cinematic medium, the American B-film of the 1950s. After the tragic end in slow motion, the collective madness seems to have been wiped away by the ambulance siren. The Dutch Algemeen Dagblad saw an impressive, realistic film in which, however, the change from students to Welle members happened too abruptly. The British Guardian thought he was brilliant because, despite far-fetched assumptions, the youngsters appeared natural and believable. The Germans stood for this obvious parable on Third Reich snake because they needed the reminder was the Spanish El Mundo convinced. The film is revealing and terrifyingly real. In his surprising debut (sic), according to El País , Gansel told the story with conviction, rhythm and credibility. It is just a shame that he is staging in an even academic manner and that the teacher's changes in behavior are not always at the desired level.

The French Positif found the questions discussed more interesting than the staging. “Despite the wide range of themes, the viewer has a bit of the impression of witnessing a curling game.” The Cahiers du cinéma approved the film, which, freed from pedagogical gravity and supported by the young actors, had universal scope. The wave logo adorns itself with the false innocence of a trade mark and is unsettling by mixing a banal identification mark of consumer society with the greeting of a totalitarian model: both denote belonging and exclusion. The brawl with punks is less ideological than a clash of fashionable styles. In the next world war, soldiers from Adidas and Reebok would fight each other, so the wave was a success.

Box office success and awards

At the time of the cinema release, the distributor made available the brochure material for the lessons , which should help teachers with “Prepare the cinema visit” and “Follow up the cinema visit”. There was also an official novel about the film, written by Kerstin Winter . Die Welle was released in German cinemas on March 13, 2008 with 279 copies, and one day later in Austria. The film reached 2.5 million German cinema viewers.

At the 2008 German Film Prize , Die Welle received the prize for the best male supporting role ( Frederick Lau ) and the bronze film prize in the feature film category . Ueli Christen was also nominated for editing the film. In the same year, lead actor Jürgen Vogel was nominated for the European Film Award 2008 for Best Actor . In addition, Die Welle ran at the Sundance Film Festival in the World Cinema - Dramatic section without winning an award. The film was also shortlisted for German applicants for the Oscar abroad , but was left behind in the Der Baader Meinhof complex .

In April 2018 it was announced that Rat Pack Filmproduktion would produce a series based on the film on behalf of Netflix .

literature

template

conversations

Review mirror

positive
  • Cinema , No. 4/2008, pp. 34–36, by Heiko Rosner: The end of innocence
  • film-dienst No. 6/2008, p. 53, by Mike Beilfuß: Die Welle
  • Die Welt , March 13, 2008, p. 27, by Hanns-Georg Rodek: Experiment National Socialism
  • Die Zeit , March 13, 2008, by Maximilian Probst: Power through action!
Rather positive
Mixed
negative

Web links

Individual evidence

  1. ↑ Release certificate (PDF; 78 kB) FSK voluntary self-regulation of the Filmwirtschaft GmbH. Retrieved November 26, 2011.
  2. ↑ Age rating for Die Welle . Youth Media Commission .
  3. ↑ a b c Christa Hanetseder: Teachers against prejudice. Two experiments with unexpected dynamics In: ph akzente No. 4/2008, p. 16
  4. ↑ a b c d Irene Jung: Nobody can say that they knew nothing . In: Hamburger Abendblatt , March 10, 2008, p. 3
  5. ↑ a b c d e f g Ina Hochreuther: The school and the dictatorship In: Stuttgarter Zeitung , March 13, 2008, p. 32
  6. ↑ a b Ekkehard Knörrer: Man is just a rat in the laboratory In: taz , March 12, 2008, p. 15
  7. ↑ a b c d e Dennis Gansel in conversation with the Hamburger Abendblatt , March 10, 2008, p. 3: "Nothing has changed in the psychological mechanisms"
  8. ↑ a b c d Daniel Kothenschulte: The free will In: Frankfurter Rundschau , March 13, 2008, p. 33
  9. ↑ Dennis Gansel in the audio commentary on the DVD, at 5:00
  10. ↑ a b c d Dennis Gansel in conversation with Der Standard , February 11, 2008, p. 28: Fascism is attractive to everyone
  11. ↑ Dennis Gansel in the audio commentary on the DVD, at 6:30
  12. ↑ a b Dennis Gansel in conversation with Cinema , No. 4/2008, p. 36
  13. ↑ Dennis Gansel in the audio commentary on the DVD, from 28:30
  14. ↑ Online presence of the Marie-Curie-Gymnasium in Dallgow-Döberitz ( memento of the original from August 19, 2012 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. the film was shot on. Retrieved August 30, 2012  @1@ 2Template: Webachiv / IABot / www.marie-curie-gymnasium-dallgow.de
  15. ↑ Dennis Gansel in the audio commentary on the DVD, at 48:30 and 66:30
  16. ↑ Filmmuseum Potsdam: Babelsberg Film History ( Memento of the original from January 6, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. accessed on January 6, 2014  @1@ 2Template: Webachiv / IABot / www.filmmuseum-potsdam.de
  17. ↑ Dennis Gansel in the audio commentary on the DVD, at 4:00
  18. ↑ Jessica Schulte am Hülse: She plays courageous women In: Welt am Sonntag , March 2, 2008, p. B3
  19. ↑ Dennis Gansel in conversation with Der Standard , February 11, 2008, p. 28 (also direct quote); in conversation with the Stuttgarter Nachrichten , March 10, 2008, p. 12; in conversation with the Hamburger Abendblatt , March 10, 2008, p. 3
  20. ↑ Dennis Gansel in the audio commentary on the DVD (minute 6:20)
  21. ↑ a b c d e Dennis Gansel in conversation with the Stuttgarter Nachrichten , March 10, 2008, p. 12: "Resistance biographies arise from coincidences"
  22. ↑ a b c d e Ulrich Steller: Chapter filmic means in: The wave. Materials for teaching. Edited by Vera Conrad, Munich 2008. Available on the official website of the film distribution company ( Memento of the original from December 17, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.welle.film.de
  23. ↑ a b c Maximilian Probst: Power through action! In: Die Zeit , March 13, 2008
  24. ↑ a b c d Tobias Kniebe: The Fascist in Us ( Memento of the original from November 26th, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: Süddeutsche Zeitung , March 12, 2008  @1@ 2Template: Webachiv / IABot / www.sueddeutsche.de
  25. ↑ a b Harald Pauli: Let the Nazi out! In: Focus , March 10, 2008, p. 68
  26. ↑ Screenplay co-author Peter Thorwarth in the audio commentary on the DVD (at 42:30)
  27. ↑ Dennis Gansel in the audio commentary on the DVD, at 93:30
  28. ↑ a b c d e f g h Christoph Cadenbach: How schoolchildren transform into fascists beaming with joy In: Spiegel Online , March 10, 2008
  29. ^ A b c d e Eva Maria Schlosser: The experiment derailed In: Stuttgarter Nachrichten , March 13, 2008, p. 20
  30. ↑ a b c d Ulrich Sonnenschein: Die Welle In: epd Film , March 2008, p. 46
  31. ↑ a b Heiko Rosner: The End of Innocence In: Cinema , No. 4/2008, pp. 34–36
  32. ↑ a b Andreas Kilb: Auf Wiedersehen, Kinder In: Frankfurter Allgemeine Zeitung , March 13, 2008, p. 36
  33. ↑ a b Julia Teichmann: Power, Community, Discipline In: Berliner Zeitung , March 12, 2008, p. 27
  34. ↑ a b c Sebastian Handke: Die Weißwäscher In: Der Tagesspiegel , March 13, 2008, p. 31
  35. ↑ Gebhard Hölzl : The wave . In: Fränkische Nachrichten , March 13, 2008.
  36. ↑ a b Mike Beilfuß: Die Welle In: film-dienst No. 6/2008, p. 53
  37. ↑ Hanns-Georg Rodek : Experiment Nationalozialismus In: Die Welt , March 13, 2008, p. 27
  38. ↑ Maurizio Porro: In classe si rischia di diventare nazisti In: Corriere della Sera , February 27, 2009, p. 59
  39. ^ Rianne van der Molen: Als schaapjes over de dam In: Algemeen Dagblad , November 26, 2008, p. 27
  40. ^ Johnny Dee: Follow the leader In: The Guardian , September 13, 2008, p. 4
  41. ↑ Lucia Mendez: Asuntos internos In: El Mundo , November 29, 2008, segunda edición, p. 5
  42. ↑ Javier Ocaña: Alegoría del IV Reich In: El País , November 28, 2008
  43. ^ Adrien Gombeaud: La Vague In: Positif , No. 577, March 2009, p. 55
  44. ↑ Christophe Beney: La Vague In: Cahiers du cinéma , March 2009, p. 40
  45. ^ Spiegel Online , March 17, 2008: Hu! Horton hears the tills ring
  46. ↑ film-dienst No. 16/2008 , p. 5
  47. ↑ Netflix makes “Die Welle” and pushes Europe. Retrieved April 20, 2018 .
This article was added to the list of excellent articles on February 15, 2010 in this version .