DOCSLIB.ORG

Radio, Space and Voice in Divided Berlin, 1961–1989

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Radio, Space and Voice in Divided Berlin, 1961–1989 Hier spricht Berlin: Radio, Space and Voice in Divided Berlin, 1961–1989 Esme Joan Nicholson Submitted by Esme Joan Nicholson to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Modern Languages, September 2014 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature………………………………………………………………… 2 Abstract Radio waves pay no heed to political frontiers and they produce spaces that are entirely different from ideologically delineated spheres. Despite jamming campaigns, the broadcasting space of divided Berlin could not be contained by a border cast in concrete from August 1961. This study investigates how radio and radio voices define space in divided Berlin between 1961 and 1989, asking how the space of the different political zones interacts with the mediated spaces of radio, and what kind of other spaces they create at this interface. It also probes to what extent radio subverts the political systems it infiltrates and how it impacts its listeners in both the East and the West. Based upon a chronological selection of radio programmes, features and reports from various broadcasters either side of the Wall, this study offers a different perspective on a city that has been examined at length by literature, film and the arts, namely via sound and the act of listening. Remarkably, listening does not feature as the primary approach for the majority of existing research on radio in Berlin; instead there is a widespread preference for written sources. This study’s theoretical approach is informed by Henri Lefebvre, Edward Soja and Jürgen Habermas in order to tackle the complex and unique spatial dimension of two political systems in one, albeit divided space, served by numerous radio stations from both systems. Following chapter one’s exposition on space, chapter two comprises the first case study and sets the scene: charting radio reactions to the building of the Wall, it explores the spaces and voices of news and how they map a fast transitioning space. Chapter three analyses a much more considered rendering of space in the guise of the media event that constitutes John F. Kennedy’s visit to Berlin in 1963. It illustrates how the day was very much an audio event, and how by the end of the visit, West Berlin was claimed not only as the United States’ Berlin, but as RIAS’ Berlin. Chapter four investigates spaces that are much more intimate: the discursive space produced by arguably Berlin’s most enduring radio voice of the period, Friedrich Luft. Chapter five, by contrast, considers voices that remain silent until the late eighties when a cross-border collaboration between the anti-establishment in both West and East Berlin creates a broadcasting space in which the burgeoning GDR opposition may let their voices be heard. The show, Radio Glasnost, opens up the GDR’s tightly controlled media space and achieves a degree of freedom of speech. The nature of divided Berlin’s spaces – whether media space, city space or political space – and the impact they have on the disembodied radio voice (and vice versa) has significant implications for mnemonic discourse. Consequently, this study concludes with detailed recommendations for further research on mediated memory that draws upon and develops the findings of this research. 3 Acknowledgements I would like to thank my supervisors Professor Ulrike Zitzlsperger and Dr. Fiona Handyside for their guidance, steadfast support and dedication to a fruitful, thought-provoking and thoroughly enjoyable three-year conversation. I am grateful to the Arts and Humanities Research Council for generously funding this project with the Digital Humanities and Technology in Culture Doctoral Scholarship. I am also indebted to a number of archivists including Angela Mehner and Anna Pfitzenmaier at the Deutsches Rundfunkarchiv in Babelsberg, Maja Pyka and Martin Baumgärtel at Deutschlandradio Kultur, Elgin Helmstaedt at the Archiv der Akademie der Künste, Petra Söllner at the Robert-Havemann-Gesellschaft as well as Dagmar Hovestädt, head of press at the Behörde des Bundesbeauftragten für die Stasi-Unterlagen. I am also much obliged to Roland Jahn, Ilona Marenbach and Dieter Rulff for taking the time to give me interviews, and to Professor Andreas Daum for providing me with an advance copy of his latest publication. I would also like to thank my father for his interest and helpful comments. Finally, thank you John-Erik for listening and for being my sounding board. 4 Verehrte An- und Abwesende, wenn Ihr den Rundfunk höret, so denkt auch daran, wie die Menschen in den Besitz dieses wunderbaren Werkzeuges der Mitteilung gekommen sind. Der Urquell aller technischen Errungenschaften ist die göttliche Neugier und der Spieltrieb des bastelnden und grübelnden Forschers und nicht minder die konstruktive Phantasie des technischen Erfinders. — Albert Einstein, 1930.* * Albert Einstein, Excerpt from his speech at the opening of the seventh Deutsche Funkausstellung und Phonoschau in Berlin on 22 August 1930. http://www.einstein- website.de/z_biography/redefunkausstellung.html [accessed 23 August 2014]. 5 LIST OF CONTENTS Abstract 3 Acknowledgements 4 List of Contents 6 List of Illustrations 8 INTRODUCTION 11 (i) Research Questions 12 (ii) Radio in Divided Berlin: an Historical Overview 17 (iii) Literature Review 23 (iv) Sound Research 30 (v) Research Methods, Primary Sources and Selection Criteria 32 CHAPTER 1 – Space 39 1.1 The Visual Bias of the Spatial Turn 43 1.2 Cityspace 52 1.3 Mediaspace 58 1.4 The Politics of Space and the Media 67 CHAPTER 2 – Changing Space: The Wall as News Event 73 2.1 Radio Reactions to the Wall: How the News was Reported 75 2.1.1 The Wall as a Broadcasting Site 2.1.2 Other Broadcasting Sites: Reporting the News away from the Wall 2.2 A Sound Wall: ‘Studio am Stacheldraht‘ 85 2.3 Re-mapping Berlin after August 1961 88 CHAPTER 3 – Producing Space: ‘Kennedy’ the Media Event 93 3.1 Media Events: a Definition 96 3.2 The Historical Context 98 3.3 Anticipating the Event 100 3.4 The Event: RIAS and SFB’s ‘Live Broadcasting of History’ 106 3.4.1 Technological Showcasing 3.4.2 Microphone Positioning 3.4.3 Voice 3.5 East Berlin’s Non-Event 116 3.6 The Spatial Implications of the ‘Kennedy’ Media Event 120 6 CHAPTER 4 – Discursive Space: The Voice of Friedrich Luft 127 4.1 Radio Voice 133 4.2 ‘Die Stimme der Kontinuität‘: The Voice of Friedrich Luft 136 4.3 ‘Gleiche Stelle, gleiche Welle‘: Luft’s Discursive Space 144 4.4 Continuity in Turbulent Times: Luft’s Presence 151 CHAPTER 5 – Space of Resistance: Radio Glasnost 157 5.1 Context 160 5.1.1 The Struggle for Space and Voice 5.1.2 Gegenöffentlichkeit: Anti-establishment and Illegal Media in East and West Berlin 5.1.3 The Legalisation of Gegenöffentlichkeit 5.1.4. ‘Außer Kontrolle’: the GDR’s First Non-Official Radio Show 5.2 Radio Glasnost, the Shows 180 5.2.1 Establishing Glasnost 5.2.2 Reclaiming Space and Voice 5.2.3 Firstspace Realities: the Continued Existence of the Wall 5.2.4 ‘Stimmabgabe’: Local Elections and Dashed Hopes 5.2.5 ‘Draußen statt drüben’: the Shared Space of the Environment 5.3 Reactions to Radio Glasnost 209 5.3.1 Media Reactions 5.3.2 Stasi Reactions CONCLUSION 221 APPENDICES 241 (I) Transcript of Interview with Roland Jahn, Former Founder and Editor of Radio Glasnost, Current Federal Commissioner of the Stasi Archives (II) Transcript of Interview with Dieter Rulff, Former Editor-in-Chief of Radio Glasnost and Co-founder of Radio 100 (III) Transcript of Interview with Ilona Marenbach, Former Presenter of Radio Glasnost BIBLIOGRAPHY 269 7 LIST OF ILLUSTRATIONS Figure 1.1 Der Himmel über Berlin (Wim Wenders, 1987) Figure 1.2 Der Himmel über Berlin (Wim Wenders, 1987) Figure 1.3 Der Himmel über Berlin (Wim Wenders, 1987) Figure 1.4 McLuhan’s and Fiore’s overtly visual, non-linear texts (McLuhan and Fiore, The Medium is the Massage, 1967) Figure 1.5 McLuhan’s ‘orality’ on the page (McLuhan and Fiore, The Medium is the Massage, 1967) Figure 1.6 McLuhan on and in print (McLuhan and Fiore, The Medium is the Massage, 1967) Figure 1.7 Public transport map for Berlin (Source: Berliner Verkehrsbetriebe) Figure 1.8 GDR propaganda warning its citizens against infected airspace. (Source: Deutsches Historisches Museum) Figure 1.9 László Moholy-Nagy, View from Radio Tower, Berlin, ca. 1928 (Source: Galerie Berinson, Berlin) Figure 1.10 Berlin’s broadcasting towers in the East and West (Source: Associated Press) Figure 1.11 Haus des Rundfunks, a Soviet enclave within the British Sector until 1956, surrounded by barbed wire. (Source: Deutsche Rundfunk-Archiv) Figure 1.12 World receiver dial (Source: Esme Nicholson) Figure 2.1 A GDR soldier bricks up the windows in tenement buildings at the border on 14 August 1961 (Source: Klaus Lehnartz, regierungonline.de) Figure 2.2 GDR residents flee West through houses directly at the border (Source: Alex Waidmann, Ullstein Verlag) Figure 2.3 GDR citizens flee West through houses directly at the border (Source: Landesarchiv Berlin) 8 Figure 3.1 The cover of commemorative ephemera from the day. (Source: Ich bin ein Berliner John F. Kennedy in der deutschen Hauptstadt am 26. Juni 1963, Berlin Arani-Verlag, 1963) Figure 3.2 Kennedy on the podium in front of the Wall (Source: John F.
Load more

Recommended publications
  • Susan Philipsz: You Are Not Alone, Edited by James Lingwood and Brigitte Franzen, Cologne: Koenig Books, 2014: 82-84
    Maeve Connolly, 'Reverberations in Time and Space: You Are Not Alone' Susan Philipsz: You Are Not Alone, edited by James Lingwood and Brigitte Franzen, Cologne: Koenig Books, 2014: 82-84. ISBN 9783863354053 Standing in the light-filled atrium of Haus des Rundfunks in Berlin, the site of Susan Philipsz’s work You Are Not Alone, I found myself speculating upon the material and acoustic properties of this distinctive space, with its walls clad in small shiny ceramic tiles, and also remembering earlier encounters with Philipsz’s work. I recalled moving through the everyday confusion of a bus station in Belfast, drawn by an unaccompanied female voice rising above the crowd and, some years later, hearing music as I climbed the stairs to the upper floor of a white-walled New York gallery, catching fragments of a 16th century lament emanating from tall trees in the parkland of Kilkenny castle and, most recently, discerning a composition for strings as I approached the end of a platform in what was once the main train station of Kassel. As these disparate memories of Philipsz’s work cohered, I was struck by the complex interplay between loss, longing and evocation – and between memory and history – in her practice. In an article that reflects upon the relationship between history and memory in contemporary art, Peter Osborne proposes that concepts of ‘trauma’, ‘melancholy’ and ‘mourning’ have become prevalent in art discourse, reinstating a ‘metaphorically expanded conception of memory as the medium of historical experience’.1 Osborne also suggests that, by comparison with history, memory is ‘temporally restricted’2 because it only enlivens the past in relation to the present.
    [Show full text]
  • A Study of the Space That Shaped Weimar Berlin Carrie Grace Latimer Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2014 The lotP s of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin Carrie Grace Latimer Scripps College Recommended Citation Latimer, Carrie Grace, "The lotsP of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin" (2014). Scripps Senior Theses. Paper 430. http://scholarship.claremont.edu/scripps_theses/430 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE PLOTS OF ALEXANDERPLATZ: A STUDY OF THE SPACE THAT SHAPED WEIMAR BERLIN by CARRIE GRACE LATIMER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MARC KATZ PROFESSOR DAVID ROSELLI APRIL 25 2014 Latimer 2 TABLE OF CONTENTS Acknowledgements 3 Introduction 4 Chapter One: Berlin Alexanderplatz: The Making of the Central Transit Hub 8 The Design Behind Alexanderplatz The Spaces of Alexanderplatz Chapter Two: Creative Space: Alfred Döblin’s Berlin Alexanderplatz 23 All-Consuming Trauma Biberkopf’s Relationship with the Built Environment Döblin’s Literary Metropolis Chapter Three: Alexanderplatz Exposed: Rainer Werner Fassbinder’s Film 39 Berlin from Biberkopf’s Perspective Exposing the Subterranean Trauma Conclusion 53 References 55 Latimer 3 Acknowledgements I wish to thank all the people who contributed to this project. Firstly, to Professor Marc Katz and Professor David Roselli, my thesis readers, for their patient guidance, enthusiastic encouragement and thoughtful critiques.
    [Show full text]
  • The Cultural Memory of German Victimhood in Post-1990 Popular German Literature and Television
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Commons@Wayne State University Wayne State University Wayne State University Dissertations 1-1-2010 The ulturC al Memory Of German Victimhood In Post-1990 Popular German Literature And Television Pauline Ebert Wayne State University Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the European History Commons, European Languages and Societies Commons, and the German Literature Commons Recommended Citation Ebert, Pauline, "The ulturC al Memory Of German Victimhood In Post-1990 Popular German Literature And Television" (2010). Wayne State University Dissertations. Paper 12. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. THE CULTURAL MEMORY OF GERMAN VICTIMHOOD IN POST-1990 POPULAR GERMAN LITERATURE AND TELEVISION by ANJA PAULINE EBERT DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2010 MAJOR: MODERN LANGUAGES Approved by: ________________________________________ Advisor Date ________________________________________ ________________________________________ ________________________________________ ________________________________________ © COPYRIGHT BY ANJA PAULINE EBERT 2010 All Rights Reserved Dedication I dedicate this dissertation … to Axel for his support, patience and understanding; to my parents for their help in financial straits; to Tanja and Vera for listening; to my Omalin, Hilla Ebert, whom I love deeply. ii Acknowledgements In the first place I would like to express my deepest gratitude to my advisor, Professor Anne Rothe.
    [Show full text]
  • War: How Britain, Germany and the USA Used Jazz As Propaganda in World War II
    Kent Academic Repository Full text document (pdf) Citation for published version Studdert, Will (2014) Music Goes to War: How Britain, Germany and the USA used Jazz as Propaganda in World War II. Doctor of Philosophy (PhD) thesis, University of Kent. DOI Link to record in KAR http://kar.kent.ac.uk/44008/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Music Goes to War How Britain, Germany and the USA used Jazz as Propaganda in World War II Will Studdert Thesis submitted for the degree of Doctor of Philosophy in History University of Kent 2014 Word count (including footnotes): 96,707 255 pages Abstract The thesis will demonstrate that the various uses of jazz music as propaganda in World War II were determined by an evolving relationship between Axis and Allied policies and projects.
    [Show full text]
  • Pressedossier Als
    PRESSEINFORMATION Berlin, 13. März 2020 Zwei Sieger beim Architekturwettbewerb des rbb Die Entscheidung im Architekturwettbewerb des Rundfunk Berlin- Brandenburg ist gefallen. Den Realisierungswettbewerb für das Digitale Medienhaus gewinnen die Architekturbüros Henn GmbH (Berlin) und Steimle Architekten GmbH (Stuttgart). Einen zweiten Preis erhält Baumschlager Eberle Architekten (Berlin). Mit allen drei Preisträgern geht der rbb nun in Verhandlungen. Die konkreten Planungen für den Bau des Digitalen Medienhauses an der Berliner Masurenallee können damit beginnen. Das neue Gebäude soll den Bedürfnissen und Anforderungen der modernen, stark auf nicht-lineare Ausspielwege ausgerichteten Medienwelt gerecht werden. Auf einer Brutto- Fläche von bis zu 20.000 Quadratmetern wird es agile und crossmediale Arbeits- und Produktionsprozesse unter einem Dach ermöglichen. Patricia Schlesinger, rbb-Intendantin: „Am Berliner Standort hat der rbb traditionsreiche Gebäude, in denen hervorragendes Programm fürs Fernsehen, fürs Radio und auch bereits für online produziert wird. Die drei Siegerentwürfe sind richtungsweisend für den rbb der Zukunft, in der wir uns stärker aufs Netz fokussieren müssen. Die Architekturbüros haben unsere Anforderungen an eine crossmediale und moderne Arbeitsweise aufgenommen und kreativ umgesetzt. Wir gehen mit den Architekten nun ins Gespräch über die Weiterbearbeitung. Das ist ein wichtiger Meilenstein im Projekt, nun kann und wird es zügig weitergehen.“ Juryvorsitzende Prof. Christiane Thalgott „Die Transparenz in der Innen- wie Außenwahrnehmung beim Entwurf Henn ist ausgesprochen hoch und RUNDFUNK BERLIN-BRANDENBURG entspricht dem Zielbild eines offenen Medienhauses für Mitarbeiterinnen PRESSE & INFORMATION und Mitarbeiter sowie für das Publikum. Überzeugend ist die klare MASURENALLEE 8 – 14 strukturelle Gliederung des Gebäudes in eine digitale Produktebene, eine 14057 BERLIN TELEFON 030 97993-12100 Kommunikationsebene und darunter liegende infrastrukturelle TELEFAX 030 97993-12109 E-MAIL [email protected] Funktionsräume.
    [Show full text]
  • Ingrid Miethe the Concept of Dominance Culture
    Brolly. Journal of Social Sciences 2 (3) 2019 DIFFERENCE AND DOMINANCE BETWEEN EAST AND WEST: A PLEA FOR A NATIONWIDE REAPPRAISAL OF THE GERMAN UNIFICATION AND TRANSFORMATION Ingrid Miethe Professor, Justus Liebig University, Giessen, Germany [email protected] Abstract. There are now thirty years since the fall of the Berlin Wall and the German unification. A whole generation has since then grown up in Germany, who knows the period of division only from history books. The subject of German division should be over and done with by now – should it not? The current developments in Germany would indicate otherwise. Among these developments, the success of the party Alternative für Deutschland (AfD) in state elections has reminded us that significant differences persist between Eastern and Western Germany. This current finding is only an outward manifestation, however, of the dissatisfaction with the process of unification that still persists on the part of many East Germans. For a long time, little was heard on the topic in the public sphere, but it is still current and must be addressed publicly lest further potential social conflicts develop from it. The thesis of the present article is that the current differences between East and West Germans1 can no longer be explained merely by differences in socialization before 1989, but are also the manifestation of a West German culture of dominance arising in the course of the German unification and the ensuing process of transformation. This culture of dominance is based, as we will show in detail in the following, on a combination of economic, political and cultural dimensions.
    [Show full text]
  • Classical Music, Propaganda, and the American Cultural Agenda in West Berlin (1945–1949)
    Music among the Ruins: Classical Music, Propaganda, and the American Cultural Agenda in West Berlin (1945–1949) by Abby E. Anderton A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2012 Doctoral Committee: Professor Jane Fair Fulcher, Chair Professor Steven M. Whiting Associate Professor Charles H. Garrett Associate Professor Silke-Maria Weineck To my family ii Acknowledgements While writing this dissertation, I have been so fortunate to have the encouragement of many teachers, friends, and relatives, whose support has been instrumental in this process. My first thanks must go to my wonderful advisor, Dr. Jane Fulcher, and to my committee members, Dr. Charles Garrett, Dean Steven Whiting, and Dr. Silke-Maria Weineck, for their engaging and helpful feedback. Your comments and suggestions were the lifeblood of this dissertation, and I am so grateful for your help. To the life-long friends I made while at Michigan, thank you for making my time in Ann Arbor so enriching, both academically and personally. A thank you to Dennis and to my family, whose constant encouragement has been invaluable. Lastly, I would like to thank my mom and dad, who always encouraged my love of music, even if it meant sitting through eleven community theater productions of The Wizard of Oz. I am more grateful for your help than I could ever express, so I will simply say, “thank you.” iii Table of Contents Dedication .......................................................................................................................
    [Show full text]
  • 2013 Alliance 9 Categories & Prizes 22
    INDEX PAGE INTRO THE PRIX EUROPA 2013 ALLIANCE 9 CATEGORIES & PRIZES 22 COMPETING TELEVISION ENTRIES TV DOCUMENTARY 26 TV FICTION 54 TV CURRENT AFFAIRS 78 TV IRIS 96 PRIX GENEVE-EUROPE 112 COMPETING RADIO ENTRIES RADIO DOCUMENTARY 120 RADIO FICTION 154 RADIO MUSIC 188 COMPETING ONLINE ENTRIES ONLINE 210 LIST OF COMPETING ORGANISATIONS 236 2 PRESIDENT 664 entries from 252 broadcasters and production companies in 36 countries! More than ever, the PRIX EUROPA is a living testimony to the dynamism and vigour of European public broadcasting. What’s more: the quality of the entries have been truly remarkable. Be it first-rate television series, innovative short radio formats or cutting-edge apps to facilitate journalistic research: once again, the festival will be a dazzling showcase of quality broadcasting ‘made in Europe’. We can and should be proud of it. On behalf of the PRIX EUROPA Steering Committee let me take this opportunity to address my heartfelt gratitude to the Europe-wide alliance of public broadcasters and political institutions that actively sponsor the festival. Special thanks go to the regions of Berlin and Brandenburg for their generous support, as well as to rbb for hosting us in its historic building. The record number of entries for this year’s edition shows the central place that the festival has taken for our profession across Europe. For a week, Berlin will become the place for the very best media talents to meet, debate, learn, innovate and shine. I look forward to this exceptional event and to meeting you there. Yours sincerely Roger de Weck President PRIX EUROPA, Director General of Schweizerische Radio- und Fernsehgesellschaft - SRG SSR 3 HOST RundfunK Berlin-Brandenburg - rbb Each year in October the time-honoured Haus des Rundfunks resonates with voices from all over the continent.
    [Show full text]
  • Haus Des Rundfunks Hier Spricht Berlin
    Haus des Rundfunks Hier spricht Berlin 75 Jahre Haus des Rundfunks 75 Jahre Radiogeschichte Der einzigartige Bau des Architekten Hans Poelzig ist ein Symbol deutscher Rundfunkgeschichte – ein Ort programmlicher und technischer Innovationen. Dieses Haus hat seit seiner feierlichen Einweihung 1931 viel gesehen: Weimarer Republik und Nationalsozialismus, Nachkriegswirren und Kalten Krieg, Teilung und Wieder- vereinigung Berlins. Es war ein Ort der Information und der Propaganda. Dem Rundfunk Berlin-Brandenburg ist die Geschichte dieses Hauses Verpflichtung: zu journalistischer und künstlerischer Qualität. Intendantin Rundfunk Berlin-Brandenburg „Das Schiff ist klar zur Fahrt” Donnerstag, 22. Januar 1931: Eröffnung des Haus des Rundfunks (HdR) Das Haus des Rundfunks an der Charlottenburger Masurenallee. Mit dem Bau in der Nähe des Ausstellungsgeländes endet für die regionale Rundfunkgesellschaft in der Weimarer Republik „Berliner Funk-Stunde” ein Provisorium. Der mit sieben Jahren älteste Radio-Programmdienst des Deutschen Reiches erhält ein Gebäude, das 1929 bis 1933 ausschließlich dem Rundfunk und seinen Bedürfnissen dient. Das Haus des Rundfunks ist in seiner Größe und Ausstattung einzigartig in Europa: Der massive Ziegelbau in Form eines gleichschenkligen Dreiecks mit Klinker- und Keramikplattenverblendung beherbergt neben unzähligen Büroräumen drei große Sendesäle in seinem Inneren, außerdem mehr als zehn Aufnahmestudios sowie Proben- und Schalträume. Architekt des neuen Funkhauses ist Hans Poelzig. Der 1869 geborene Berliner – seit 1923 Professor an der Technischen Hochschule – vereint visionäre Architektur mit den Anforderungen moderner Büro- und Studiobauten. Erfahrungen aus früheren Projekten wie Max Reinhardts Großem Schauspielhaus in Berlin oder dem Breslauer Konzertsaal dienen dem Vertreter der Klassischen Moderne beim Bau des Charlotten- burger Rundfunkhauses, dessen Grundsteinlegung am 29. Mai 1929 gefeiert wird.
    [Show full text]
  • ~Ct~L Servlc Sf BERLIN TOUR ~8
    I ~ct~L SERVlc Sf BERLIN TOUR ~8 Compiled by Special Services Division Berlin Command Price -.35 Special Services Berlin Tour Compile,] L." Special Services Division Berlin Command FOREWORD This Booklet is designed to give you a general background of Berlin with a discussion of the points of interest which this guided tour covers. It is hoped, at the same time, that it will be of use in making your visit to Berlin interesting and worthwhile. BRIEF HISTORY OF BERLIN Berlin is first mentioned in history in the early part of the 13th century. It was located on the banks of the river Spree, opposite Koelln. Both villages were well knowll markets for fish, grain, and wood Oil the commercial highway from Leipzig to Stettin at the Baltic Sea. The names of both villages are of Wendish origin, but stories abollt them have not really been confirmed. Berlin is supposed to mean "sandy field", which indeed is true of the area around Berlin. Koelln is said to stand for "built on wooden planks above the water". Some people also connect the name Berlin with Albrecht the Bear, founder of the Margraviate of Brandenburg who held the title Margrave from 1150 to 1170, but it is almost certain that Berlin was not founded during his time. The oldest parts of Berlin-Koelln were situated on the Museum Island and south of it. When Emperor Sigismund appointed the Burgrave of Nuremberg, Frederick von Hohenzollern, viceroy of the Mark Brandenburg in 1415, the nobles of the Mark be­ came rebellious, and the struggle was not ended until his son Frederick "with the Iron Tooth" conquered Border Sign -us Army Berlin-Koelln with 600 horsemen and built a strong ci tadel on the island of Koelln.
    [Show full text]
  • MASARYK UNIVERSITY Berlin Wall and Pop Culture
    MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature Berlin Wall and Pop Culture Bachelor Thesis Brno 2018 Supervisor: Michael George, M.A. Author: Pavel Fuka Declaration I hereby declare that I worked on this bachelor thesis independetly and that I used only the sources listed in the list of references. Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně, s použitím pouze literatury uvedené v bibliografii. …………………………………….. Pavel Fuka, Brno 2018 Acknowledgements I would like to thank my supervisor Michael George, M.A. for the help with supervising this thesis, for patience and advice he provided Abstract The topic of the bachelor thesis is Berlin Wall and Pop Culture. The thesis focuses on the cultural environment in Berlin from the 1970s till the 2000s (i.e. the period after the fall of the Berlin Wall). In each chapter it briefly discusses a significant cultural topic relevant to a particular period. Documentary analysis serves as an applied method. The thesis is divided into four chapters, each chapter covers three subchapters. Apart from these twelve chapters, the first chapter is listed in the beginning of the thesis. Various books and internet sources are used as a researched material. The main aim of the thesis is to make readers familiar with cultural aspects related to Berlin in the 1970s, 1980s, 1990s and 2000s. Key words Music, film, David Bowie, Pink Floyd, Berlin Wall, director, author, book, concert, West Berlin, East Berlin. Abstrakt Tématem bakalářské práce je Berlínská Zeď a Populární kultura. Bakalářské práce se zaměřuje na kulturní prostředí v Berlíně od 70.
    [Show full text]
  • Download Bulletin
    PHONOGRAP'HIO',"'BULLETIN Revlewpf , 'Arc.hives Organec:l~ Sonores " ' , ' ' ~~its , ohriftderInte:tnational.:en Ve~elni9'ungcier schalla';rchi ve ' Eci;Ltor : ,Dr. Ro IfL. Schuursma,·" opc,umenta,tioncehtre ,liengeveldstraat,:29, "Utrecht., The "Neth.erlands The , PHONOGRAPHl:C ' BULLETIN i$onlyavail~bleoto Inemb;~l;S ' : Q£IASA, the Internatiqnal Associa,tion,of Sound " Arch.l.ve~ f , 'l'hestibscriptionprice,coveredby:the ,memPershipdues, ' is dil. 9.00 for individual members .anCl ,df,1.30.00fQJ; institutional members. Applica,tionsfor membersh;tp :a+e tone addressed ,to the secretflry of IASA. ' " ", , ' , ,,' "...I " ' " , "', " " ' , ,' , , ' ,,' " LePHQNOGRAPHIC BULLETlN n' est destineq\l'auxmetnb:t;'~s l' IASA • Leprix de 1 'abonnement est. .compris dans la cotisation; c~ttederniere ,est dehfl.9 .00 ,pourles ro~mbresindividuels et dehfl. , 30. oq ,pourles membres, collectifs. Les d~mandes d'adh~siondoiventetre adreQs~e$ ,. au Secretariat del'I1\SA. " PHONOGRAPHIC l30~LETINwi:rd nu'r anMi tgl~edel: d.erl1\SA ausgel,iefert. Der Bezu<:1spreisi~t im 'Mi,:tgliedspel,t;r,aq erhalten.Esbet,digt,hfl.. 9. 00 fUr ,Einze1mitg:lieder, und hfl,. 30.00 fur korporative Mitgli~der. , Anmelclungen 'z,nr Mitgli,:edschaft sind an dasSe~retariatder.l1\SA zl,\ richten. ' -0- International Association of Sound Archives (IASJ.\.) President : Timothy Eckersley ,R.ecordingServfces ,Radic;>~ , ' , British Broadcasting, Corporation, Broadcasting 1fouse, Langham Place, London WI, England Vice Presidents:M;lle Prof.Dr~' Claw::1ieMarcel';"DubQis, Musee National des Arts et TradLt,ionspopiJlaires, ,6 R<?ute du Mahatma Gandhi, 75116 Paris ; ,France Don~ld L.Leavitt,MusicPivision' of , t:he Library ' of Congress ,Washington P. C. 2()540,USA ", ' ,' , , '. "" , Dr. Ivanl?ethes,Depar tmentofSc;:ientificIIlformati6n, .
    [Show full text]