Docu-fiction: "Walled in Berlin", life around the Wall in 30 posts

Docu-fiction: Walled in Berlin, life around the Wall in 30 posts

From November 18, on the occasion of the 30th anniversary of the fall of the Wall, the documentary-fiction Walled in Berlin stages, through a comic strip, the story inspired by real events of three Berlin characters.

We are in 1962. The Berlin Wall has been cutting the German capital in half for a year now. Willi, an apprentice tailor requisitioned to be a border guard on the wall, Marienneta, an Austrian resistance fighter and Dorit, a mother of two who are trying to flee the GDR, each approach division in their own way. Between the fear of shooting a fugitive, the fear of being arrested or the dread of seeing his children killed, Walled in Berlin, a docu-fiction soon to be broadcast on Instagram, retraces, in comics, the lives of these Berliners.

"& Nbsp; The idea is to tell three universes at the same time geographically, because we are located in the East, in the West and on the border, socially, professionally and psychologically different & nbsp;", explains Joffrey Lavigne, who co-wrote the story with Marguerite Boutrolle. "& Nbsp; We chose the year 1962 because it is a little specific. It’s a year after the construction of the Wall, there are a lot of attempts at desertion, assassinations, etc. The people of Berlin realize that the situation will last, whereas at the start there was a kind of amazement and an idea that the Wall was not going to stay long & nbsp; ", he adds.

Docu-fiction is formed around two parts. A first, fictitious, with daily comic book publications to tell the story of the characters, and a second focused on “& nbsp; documentary & nbsp;” which “& nbsp; sheds light on certain points of the story & nbsp;”, explains Louise Genis-Cosserat, the producer. "& Nbsp; We are going to provide historical insights on subjects treated in fiction to contextualize history in reality. For Willi, for example, we document with archives on the policy of the GDR (German Democratic Republic, NDLR) & nbsp; in the repression of fugitives & nbsp; ”, she argues.

Beyond the Berlin Wall, through their research, it is a reflection on the “& nbsp; Wall as a border & nbsp;” which has been carried out, describes Joffrey Lavigne, who wishes to “& nbsp; tell something about our present & nbsp ; ". After more than six months of research, he came to the conclusion that that of Berlin is a special case. Nothing to do with the border that Donald Trump wants to erect between the United States and Mexico, for example. "& Nbsp; The Berlin Wall is very specific, because it is the only wall that aims to enclose its people rather than protect them. It’s really the wall of withdrawal & nbsp; ”he analyzes.

Several months of research in Berlin museums, historic sites and archives, alongside historians, were necessary to integrate a maximum of reality into these fictions. "& Nbsp; A lot of people who fled told their stories. There has been a lot of investigation into the stories. Either they came from testimonies after the fall of the Wall, or they were reports from the Stasi (the political police of the GDR, editor's note) or from institutions & nbsp; ", says Joffrey Lavigne.

So why not tell these true stories from the archives? "& Nbsp; The freedom to have fictional characters makes it possible to free oneself from the constraints of reality, especially in places, archives and therefore we can take advantage of this to liberate creation & nbsp;", explains the director.

However, it is important to differentiate the fictitious from the real. “& Nbsp; Viewers may be misled and no longer know where the cursor is between fiction and real life; hence the importance of a set of concrete measures allowing the public to easily differentiate fiction and reality & nbsp; ", considers Lise Henric, researcher at the IAE (Institute of business administration) of Poitiers in her article entitled" & nbsp ; Docu-fiction, between original creation and documentary & nbsp; ”, published in the Revue française des sciences des INFORMATION et de la Communication. "& Nbsp; We use all of Instagram's tools to build a narrative and dissociate the fictional from the real & nbsp;", explains the producer. "& Nbsp; The stories will only be dedicated to the documentary part and the publications will be exclusively reserved for the comic strip, the fictional & nbsp;", according to her. A question and answer space on the documentary part will also be dedicated to discussion with the public via comments on the comic strip and the stories.