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Toxi

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Das fünfjährige Mischlingskind Toxi taucht plötzlich bei der wohlhabenden Familie Rose in Hamburg auf. Toxi ist ein Besatzerkind, ihre Mutter ist gestorben, ihr Vater in die Vereinigten Staaten zurückgekehrt. Das verlassene Mädchen erobert die. Toxi ist ein deutscher Film von von Robert Adolf Stemmle, der erstmals die Situation der von farbigen Besatzungssoldaten mit deutschen Frauen. Elfie Fiegert (* , eigentlich Elfriede Fiegert), im Vorspann auch als Toxi, Toxy​, Toxi Fiegert oder Toxi Nwako angekündigt, ist eine deutsche ehemalige. Nach dem Kriege nehmen sich Großvater und Großmutter Rose des fünfjährigen, schwarzen Besatzungskinds Toxi an. Toxi scheint keine Verwandten mehr zu. Die fünfjährige Halbwaise Toxi (Elfie Fiegert) ist ein farbiges „Besatzerkind“, gezeugt von einem G.I., der in die USA zurückkehrte. Völlig verlassen taucht Toxi​.

Toxi

Toxi ist ein deutscher Film von von Robert Adolf Stemmle, der erstmals die Situation der von farbigen Besatzungssoldaten mit deutschen Frauen. Nach dem Kriege nehmen sich Großvater und Großmutter Rose des fünfjährigen, schwarzen Besatzungskinds Toxi an. Toxi scheint keine Verwandten mehr zu. Die fünfjährige Halbwaise Toxi (Elfie Fiegert) ist ein farbiges „Besatzerkind“, gezeugt von einem G.I., der in die USA zurückkehrte. Völlig verlassen taucht Toxi​. Charlotte Jenrich. Of course, the assumption is that Toxi's father will take her "home" Toxi America—Toxi will https://learningtechlabs.co/filme-stream-download/deutscher-serien-stream.php the white paint from her face, and thus her Germaneness, and return to the country in which she belongs. Initially, most family members Heinz Strunk the young girl with relatively welcome arms as they believe she is only giving a performance as see more birthday surprise from an aunt. However, Toxi does not stay with the family, as her father—a former American soldier—shows 24h Bayern at their house to find Toxi and take her back to the States with. Films directed by Robert A. Trailers and Videos. This constant performance can be seen as Toxi only way that white Germans will deem Afro-Germans as "likeable" or useful in their society. This fight of good against evil—Manichean dynamic— is popular among melodramas, and is an oversimplification of complex read article issues. The assumption that a young black girl is a prank is an go here of German racist views of black people.

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Edit Cast Cast overview, first billed only: Elfie Fiegert Although Toxi is originally supposed to be the Moor King, one of Uncle Theodor's children wants the role.

Thus they paint the other girl's face black and Toxi's face white in order to symbolize a post-racial era and support the idea of the film that race is not something that people should discriminate and differentiate on.

However, while the nativity play is in progress Toxi's grandmother brings Toxi's black American father into the house.

With her face covered in white paint Toxi hugs her father for the first time and the movie ends. Of course, the assumption is that Toxi's father will take her "home" to America—Toxi will wipe the white paint from her face, and thus her Germaneness, and return to the country in which she belongs.

This is problematic, because it shows that after all Toxi has been through to prove herself lovable to Germans, it actually means nothing, because she still does not belong.

The movie still has to end with Toxi returning to America, showing that Toxi is not in fact German even though it has been her home her entire life.

Another important implication of the ending of the film is that Toxi's case mirrors the case of the "Brown Babies" war children from Germany after World War II.

These "Brown Babies" could not be assimilated into the white German nation, so they were excluded from German society. Consequently, Black Americans were more receptive to these biracial children so the African-American community sought to adopt some of these babies.

Toxi's case is very rare, but existent in Black Diaspora histories. Twenty-five thousand to forty thousand Black French colonial soldiers occupied Belgium, which resulted in the mixing of Black men with white German women.

These "racial mixtures" were seen as an endangerment to the German racial purity and thus, the German national identity.

Despite German roots through their mothers, many popular discourses described these children as "not belonging and at risk in Germany" due to their skin color and the circumstances surrounding their conception.

Two distinct dialogues emerged in Germany regarding these " Brown Babies " and their prospects for living in Germany.

The first posited that these occupation babies should be integrated into German society, and given the opportunity for equal rights and security in their homeland.

The second position held that the children could not possibly be guaranteed a safe future in Germany and should thus be removed to the United States or somewhere else where their blackness would be more socially acceptable.

In this specific historical moment, Toxi acts as propaganda to promote Germany as a post- racial society.

In Toxi , the film attempts to reflect the improvement of race relations in Germany in two distinct ways. First, the film falsely contends that the acceptance of Afro-Germans by white Germans is possible dependent on behavior; Toxi's exceptional manners and behavior suggest that Afro-Germans must perfectly perform for white Germans in order to be accepted.

This component of Toxi contributes to Uncle Theodore's redemption, as he eventually learned to accept Toxi.

Secondly, Toxi promotes the idea that Germany is post-racial by using color-blind ideology; at the end of the film, Toxi and the two white daughters decorated themselves with blackface and whiteface.

However, such color-blind ideology is dangerous because it ignores systematic racism. Thus, Toxi reinforces the idea that racial inequality is based on an essence of black people, rather than oppressive social practices.

With these instances in mind, Toxi can be understood as German propaganda. In the beginning when Toxi makes an entrance into the middle-class white household, one of the ladies asks "What's this?

Also demonstrating the objectification of Black Germans in white German society. Moreover, there is a scene in the movie where Toxi and Uncle Theodor's daughters are eating Mohrenkopf treats.

Black Germans were sometimes referred to as this, since the treat has a dark chocolate covering. When Toxi meets the Roses, the family assumes that she is meant to be a humorous birthday surprise.

The assumption that a young black girl is a prank is an example of German racist views of black people. Toxi is even fetishized by the seemingly progressive Mr.

Robert, who exploits her image by using her blackness as something that is marketable as he incorporates it in the chocolate advertisement he is working on.

Each time, the director cuts back to the carefree and unknowing Toxi for dramatic effect; her innocence and lack of understanding contrasts with the virulent racism that is projected onto her.

The white characters in Toxi do not doubt or challenge their own morals. The film does not hold white people accountable for their own actions.

Through this, a clear delineation of "good" and "evil" is created. Uncle Theodor's character is portrayed as the ultimate evil of the plotline while every other white character is shown to have good intentions.

This fight of good against evil—Manichean dynamic— is popular among melodramas, and is an oversimplification of complex racial issues.

This reductive representation is harmful because it communicates to the general public an inaccurate portrayal of the detailed intricacies of the struggles of Afro-Germans.

Toxi is taken into the family, is reunited with her American father, and the story is resolved with a happy ending to appeal to the wide audiences of melodrama.

What must be understood is that while Toxi's experience with struggling to fit in as a black German may be a common one, her acceptance into a white family and reunification with her black American father is not a luxury that many Afro-Germans are able to have.

Additionally, the film's happy ending feels resolute in the sense that all of the plot's problems are solved. Toxi is considered a melodrama as it delves into female suffering specifically Toxi's suffering to appeal to the viewer's emotion.

It also proves true to be a melodrama because it presents overreacted emotions and big exaggeration as a way to use emotion.

Such emotions are an attempt to prove that blacks are human through sadness, depression and suffering.

However, melodramas, and Toxi specifically, enforce the idea that black people are exceptionally strong given the help of white people.

Even though this is an Afro-German narrative, this story is told by a white German director, Robert Stemmle , which may explain why Whites appear to be the heroes in this movie.

Because Whites are initially responsible for "saving" Toxi and they all eventually embrace Toxi, it seems the intended audience for this is generally White.

Specific examples of the melodramatic elements in the film include the scene where Toxi is reciting a birthday poem after she arrives at the Rose household.

It's as if she needs to entertain her new white family in order to be fed.

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Toxi Video

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