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Masarykova Univerzita Urban Communication of Berlin Through Masarykova univerzita Fakulta sociálních studií Urban Communication of Berlin through Movies Diplomová práca Viktória Bellová Brno 2018 ​ Čestné prehlásenie/Declaration Prehlasujem, že som túto diplomovú prácu vypracovala samostatne s použitím prameňov a literatúry uvedenej v bibliografii. I declare that the following diploma thesis is my own work for which I used only the sources and literature mentioned. V Brne, dňa 01.01.2019/Brno, 1st January 2019 ……………………….. Bc. Viktória Bellová 2 Anotácia Táto magisterská diplomová práca analyzuje hrané filmy, ktoré boli natočené v Berlíne a mali kinopremiéru po roku 2001. Ide celkom o štyri filmy; Victoria (2015), Oh Boy/A Coffee ​ ​ in Berlin/Ach chlapče (2012), Die Fremde/When we leave/Cudzinka (2010) a Die Fetten ​ ​ Jahre sind vorbei/The Educators/Občianska výchova (2004). Metódou priestorovej semiotickej analýzy, doplnenej o päť princípov formálneho systému filmu, ktoré uvádzajú filmoví kritici Kristin Thompson a David Bordwell a vychádzajúc zo základného delenia znaku podľa Charlesa Sandersa Peircea predstavuje táto práca obraz, ktorý o Berlíne vytvárajú režiséri analyzovaných filmov. Práca tiež približuje urbánnu komunikáciu ako relevantní disciplínu v rámci mediálnych štúdií. Kľúčové slová Znak; priestorová semiotická analýza; urbánna komunikácia; mediálne štúdiá; filmová analýza; nemecký film; Victoria; Oh Boy/A Coffee in Berlin/Ach chlapče; Die Fremde/When we leave/Cudzinka; Die Fetten Jahre sind vorbei/The Educators/Občianska výchova; výskumná práca 3 Annotation This diploma thesis is focused on the analysis of fictional movies shot in Berlin and premiered in cinemas after the year 2000. I analyze four movies: Victoria (2015), Oh Boy/A Coffee in ​ ​ Berlin (2012), Die Fremde/When we leave (2010) a Die Fetten Jahre sind vorbei/The ​ ​ ​ Educators (2004). With the use of spatial semiotics analysis in combination with the five principles of film formal system, introduced by Kristin Thompson and David Bordwell, and the typology of signs made by Charles Sanders Peirce, I try to discover what images of contemporary Berlin are portrayed by the directors of the selected movies. The thesis also represents urban communication as a relevant discipline within media studies. Keywords Sign; spatial semiotics; urban communication; media studies; film analysis; German film; Victoria; Oh Boy/A Coffee in Berlin; Die Fremde/When we leave; Die Fetten Jahre sind vorbei/The Educators; research thesis 4 Acknowledgement I would like to that you to my supervisor Tae-Sik Kim, Ph.D. for his valuable advices, and also to other professors on the department for their willingness and time. I also thank to my beloved ones, who have always supported me. 5 Table of Content Introduction 8 1 Theoretical Part 10 1.2 City as a Medium 10 1.3 City within Visual and Popular Culture 11 1.4 Collective Identity of the City 16 2 Contextual background 20 2.1 The “Haunted City” 20 2.2 The Image of Berlin 26 2.2.1 The “Always-Becoming City” 27 2.2.2 Destination Berlin 29 2.3 The Trend of Glocalization in Berlin 33 3 Methodology 35 3.1 Research Questions and the Aim of the Research 36 3.2 The Selected Movies 37 3.3 Spatial Semiotics 39 3.4 Analytical tools 44 3.4.1. Function 45 3.4.2. Similarity and Repetition 45 3.4.3 Difference and Variation 45 3.4.4 Development 46 3.4.5 Unity/Disunity 46 3.5 Urbanity 47 3.6 Symbol, Icon, Index 49 4.1 Victoria (2015) 50 6 4.1.1 Function 51 4.1.2. Similarity and Repetition 52 4.1.3. Development 52 4.1.4 Urbanity 53 4.1.5. Summary 57 4.2 Oh Boy/A Coffee in Berlin (2012) 59 4.2.1 Function 59 4.2.3 Unity/Disunity and Development 61 4.2.4 Urbanity 62 4.2.5. Summary: 65 4.3 Die Fremde/When We Leave (2010) 68 4.3.1 Unity/Disunity and Function 68 4.3.2 Similarity and Repetition 70 4.3.3 Urbanity 71 4.3.4 Summary 73 4.4 Die Fetten Jahre sind vorbei/The Educators (2004) 76 4.4.1 Function 76 4.4.2 Repetition/Similarity 78 4.4.3 Unity/Disunity 79 4.4.4 Urbanity 79 4.4.5 Summary 82 5 Discussion 84 6 Conclusion 90 Bibliography 92 Word count: 25 727 7 Introduction What is achieved by communication is the ability of an individual to understand another one. Simultaneously, this understanding is the measure of the distance between each other. We live in times of visual culture, emerging in the images around us. The contemporary world, where we do our everyday actions, is an urban world. Cities are living organisms, depending on their dwellers and the contact between them. We make connections, perceive the proximity and distance between each other, we differentiate between us and them, we create expectations, and we recognize conventions, which make sense only in context, a context we had to learn before. The physical closeness and so the lack of space makes the existing mental distance even more perceivable. As a result, we live as and with strangers in a framed space, exchanging information permanently. The city is full of signs, we can read them thanks to our cultural background. With its transitive character, it communicates like a medium and enables us to exchange information, products and ideas. For the purpose of this research, I will use the spatial semiotics analysis. In this study, I will have a further look on the public signs which are in contrast with the private space. The communication within the public space is never neutral. Space, as a semiotic phenomenon, suggests that its meaning, as a sign, is understood in relation to other concerns. Simmel (1924) wrote over a century ago about the complex and permanently changing metropolis. Similarly, other initial urban theorists, like Lefebvre (1991), Krase and Shortell (2008) or Lofland (1985, 2003) have claimed that people change the appearance of places and spaces. What is more, as they argue, through their everyday activities and by their presence they also change the meaning of the spaces. Most of the papers, concerned with the spatial semiotics analyse static pictures, for example by using photographic survey (Shortell & Krase, 2010). For the purpose of my research, I decided for the moving picture of film, as it is one of the most popular medium of popular culture. The aim of this research is therefore to examine 8 what representation of Berlin is constructed in the selected movies by German and foreign directors. I will have a further look on the chosen city spaces for filming and explore what kind of atmosphere/myth of the city is portrayed in the movies. The acquisition of this paper is the application of the analytical tools of spatial semiotics on the communication of a city (in this case Berlin) in movies. As Farías (2007) points out, the city has gained several images, which make tourists visit the city again and again. The findings should reveal what kind of myths produce the filmmakers about the German capital, as it creates its distinctive image, which is mediated through the world. This thesis is divided into four parts. The first one is the theoretical one, which brings the topic of urban communication closer to the scope of media studies. It introduces the city as a medium and the way how it appears in the visual and popular culture. It also explains how both history and memory transform the appearance of the city and how its image has been created, reshaped and further sold. The second, contextual part explains how the city-text of Berlin has been written and rewritten, especially through the twentieth century, and what are the consequences of within the image of current Berlin. Moreover, it also drafts out what is the medial representation of Berlin in foreign, German and local periodicals; which brings a better overview of how is the city perceived and mediated in the world. The third, methodological part proposes an aim, the main and additional research questions. It further explains the analytical tool I will work with; spatial semiotics, together with the five principles of the film formal system, introduced by Kristin Thompson and David Bordwell, and the typology of signs made by Charles Sanders Peirce. The fifth part of the thesis is the discussion of the findings; that is an analytical-reflexiv part, where I interpret the results of my film analyses. 9 1 Theoretical Part 1.2 City as a Medium With the development of technology in 20th century, many theorists came up with different understandings of a city in the world of media. Coming from the very basic definition of media, which “records, transmits and processes information” (Kittler, 1996: 772). The city is ​ not only connected to media technologies, but originally is a medium. In comparison, McQuire (in Chikamori, 2008) stays with more of the technology-based thinking of media, by contrast of the city as a built environment or a configuration of architectural structures. With this said, we should bear in mind the permanently dynamic character of a city. With the more omnipresent and mobile digital media which have infiltrated into the city causing the ‘real-time’ feedback in contrast to the technologies of the past, which were reporting about past events. The modern urban life reshaped picture of city from the old model of a city as a functional and traffic world, to the reshaped picture of the city as the host of modern urban life and the centre of culture (McQuire in Chikamori, 2008: 151). Moreover, modern city has lost its solid shape and was transformed into a ‘liquid city’ (McQuire, in Chikamori, 2008: 149).
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