[3][2][4] Through censorship, the socialist point of view on society was ensured in all forms of literature, arts, culture and public communication.
[6] This provision was removed in the 1968 revision of the document, and expanded to become article 27, reflecting the modernization of technology: Despite this, both official and unofficial censorship occurred throughout the history of the GDR, although to a lessened extent during its later years.
Although this apparently contradicts the above provisions, the fact that expression had to be "in accordance with the principles of the constitution" allowed the government to call on issues such as national security, public decency, and other issues covered in national law in order to enforce censorship.
[7] Censorship was applied in multiple different areas and was implemented locally, so usually through the responsible ministries and through the party (SED).
[2] All publishers, as well as all public venues and exhibitions of art and culture, were subject to censorship that ensured the representation of the socialist point of view.
This included any criticisms of communism in general, as well as discussion of the contemporary regimes of the GDR and the Soviet Union, and usually of other Soviet-allied states.
This included criticisms and complaints about the standard of living and education in the country as well as calling attention to pollution and other problems of the industrial system.
Republikflucht, or fleeing the GDR for West Germany or other countries, was not to be portrayed at all, nor was discussion of the Berlin Wall.
In addition to censoring content, the government also reserved the right to disallow publication or exhibition on the basis of form.
Disallowed forms and techniques included free verse poetry; internal monologue and stream of consciousness; nonsense or avant-garde; and abstract art.
[2] The literature censorship system was composed of a large and complex network of interlocking institutions.
The censoring process followed specific steps which enabled the government to plan and control the literature which would be published in the GDR.
Authors worked together with editors from the publishing houses who were responsible for removing any problematic content from the manuscripts.
Work was allowed to be published if it succeeded the Druckgenehmigungsverfahren and got issued an authorization from the Ministry of Culture, called a Druckgenehmigung.
[4] In case the ministry ordered changes to be made before publication, authors had the choice to either agree to them or not have their work published at all.
Similar to literature censorship, theatre production in the GDR was controlled and censored through a complex variety of interlocking institutions on multiple state levels, ultimately led by the SED.
Firstly, unexpected public disorder was aimed to be prevented by only granting permission to productions given that they were restricted in size and composition.
[10] Post-play censorship in the GDR happened in an unusual manner due to its unofficial character.
[10][1] Therefore, producers were forced to take responsibility for supposed mistakes and instead of being banned, revised and censored versions of a play were staged.
The journalistic apprenticeship took place at the Karl Marx University in Leipzig, which had a special program for journalism.
The school became very popular with aspiring journalists as a result of the possibility to make contacts through socializing with VDJ members.
Continual or substantial transgressions made a journalist vulnerable to the same punishments as those levied against artists and publishers.
There were five [dubious – discuss] state-controlled TV-channels, which distributed SED-approved information and culturally appropriate entertainment.