You talk a lot with too much pride. Lucifer was the bringer of light, Christianity stole all the pagan holidays, which are ruled by the stars. The ego is something to be developed and embraced in this life. Satan came from the planet Saturn, which rules Capricorn, which in the tarot is symbolized by the devil. The sun rules Leo, which is very bound to the ego, and the gratification of the ego is symbolized by the tarot card the sun. Lucifer or Satan, was made into a bad character by the Christian church which wanted to take power and knowledge away from people.
By the 1970s, the Stasi had decided that the methods of overt persecution that had been employed up to that time, such as arrest and torture, were too crude and obvious. It was realised that psychological harassment was far less likely to be recognised for what it was, so its victims, and their supporters, were less likely to be provoked into active resistance, given that they would often not be aware of the source of their problems, or even its exact nature. Zersetzung was designed to side-track and "switch off" perceived enemies so that they would lose the will to continue any "inappropriate" activities.
Like the film’s director, cinematographer Thomas Plenert works primarily on documentaries. He got his start with Jürgen Böttcher—the director of Born in ‘45 —filming several documentary shorts for him. He also worked on three of the DEFA feature films that Lothar Warneke directed (although not on Bear Ye One Another’s Burdens). He first worked with Helke Misselwitz on the documentary, Wer fürchtet sich vorm schwarzen Mann ( Who’s Afraid of the Bogeyman ), and continued to work with her on several more documentaries as well as her two feature films. He is also the cameraman that documentary filmmaker Volker Koepp most often chooses to shoot his films. Mr. Plenert didn’t experience the transition difficulties that faced many of the other technicians from DEFA. He continued working on documentaries and shot several episodes of popular German television shows, including many episodes of the post- Wende version Polizeiruf 110. In 1996, he won the German Film Award for best cinematography for his work on Volker Koepp’s documentary, Kalte Heimat ( Cold Homeland ).