| Abstract: | Abstract Widespread moral corruption, particularly of the sort fostered by their internal security agencies, was a key feature of communist regimes. The Lives of Others provides a dramatic portrayal of this phenomenon as it occurred in East Germany. The film can appear, given its central story of the moral redemption of a Stasi officer through his becoming intrigued by the lives of artists, to be an overly idealistic or audience-pleasing testament to the humanizing power of art. But the film also reveals the possible moral corruption of the artists. This essay provides a typology of the sorts of moral corruption exemplified by the situations of different characters in the film and shows that the main artist is actually saved from his impending corruption by the Stasi officer's actions. This reciprocal rescue is the key feature of the film's plot; it teaches that while art can undermine and resist totalitarian corruption, it is also susceptible to its snares—especially when it apolitically relies upon its own resources. |
