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This article focuses on four 'Event Movies' from the German production company teamWorx on the subject of the National Socialist past: Stauffenberg (2004), Dresden (2006), Nicht alle waren Morder (2006) and Die Flucht (2007). It investigates and analyses the films' different methods of approaching authenticity through their filmic and extra-filmic devices and explores their use of melodrama in representing history. Finally, it questions how this amalgamation of serious history and melodrama affects the ability of the films to come to terms with the National Socialist past, and how this strategy fits into the context of contemporary Vergangenheitsbewaltigung .

Between History and Melodrama: Authenticity in TeamWorx’s ‘Event Movies’ on the National Socialist Past