DOCSLIB.ORG

Branding Berlin Katrina Sark Department of Languages, Literatures, and Cultures, Mcgill University, Montreal December 2014 A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Branding Berlin Katrina Sark Department of Languages, Literatures, and Cultures, Mcgill University, Montreal December 2014 A Branding Berlin Katrina Sark Department of Languages, Literatures, and Cultures, McGill University, Montreal December 2014 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy in the Department of Languages, Literatures, and Cultures. © Katrina Sark, 2014 2 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………………………………………………………………………….… 2 ABSTRACT (English) ……………………………………………………………………………………………………………………………... 4 ABSTRACT (French) …………………………………………………………………………………………………………………………….… 5 ACKNOWLEDGEMENTS AND DEDICATION …………………………………………………………………………………………... 6 LIST OF FIGURES ……………………………………………………………………………………………………………………………………. 7 PREFACE – The New Berlin ..………………………………………………………………….…………………………………….………. 10 INTRODUCTION Research Questions, Methodologies, and Cultural Analysis ...………..……………………………………….. 18 Chapters Overview …….…...……………………………………………………………..……………………………………... 22 PART 1 – Cultural History of Post-Wall Berlin Chapter 1 – From Utopian Longing to Nostalgia: Berlin Films, Literature, and Art .…………….…... 28 Chapter 2 – Post-Wall Berlin Documentary Films …………………….……………………………………………... 58 Topographical Documentaries …………………………………………………………………………….. 66 Narrative-Portrait Documentaries ………………………………………………………………………. 77 Documentaries of Artistic Communities ……………………………………………………………… 79 Kiez-Documentaries ……………………………………………………………………………………………. 82 PART 2 – Transformations in Berlin’s Topography and Landscapes of Power (1990-1999) Chapter 3 – Urban Space ………………………………..……………………………………………………………………… 86 Chapter 4 – Berlin Babylon ………..…………………………………………………………………………………………. 105 PART 3 – Transformation in Berlin’s Symbolic Economy and Branded Identity (1999-2009) Chapter 5 – Branding, Creativity, and Diversity …………………………………………………………………….. 147 Florida’s Berlin ………………………………………………………………………………………………….. 158 Berlin’s Urban Marketing Campaigns …………………………………………………………………. 164 3 Be Berlin ……………………………………………………………………………………………………………. 169 Be Berlin – Be Diverse ………………………………………………………………………………………… 182 Chapter 6 – In Berlin ……………………………………………………………………………………………………………… 190 PART 4 – Nostalgia for Babylon (2009-now) Chapter 7 – Nostalgia, Longing, and Identity ….…………………………………………………………………….. 221 Chapter 8 – Der Weg den wir nicht zusammen gehen …………………………………………………………… 243 Chapter 9 – Mauerpark ………………………………………………………………………………………………………… 266 CONCLUSION …………………………………………………………………………………………………………………………………….. 291 BIBLIOGRAPHY …………………………………………………………………………………………………………………………………. 298 FILMOGRAPHY ………………………………………………………………………………………………………………………………….. 314 4 ABSTRACT (English) This dissertation examines the urban, cultural, and political transformations in post-Wall Berlin through multi-disciplinary analysis of documentary films, literature, art, and urban branding in relation to what I call “nostalgia for Babylon” that signifies a contemporary longing for the pre-gentrified Berlin of the 1990s, and constitutes a collective reaction to the current branding and gentrification practices in the New Berlin. The films I examine in detail include Berlin Babylon (dir. Hubertus Siegert, 2001), In Berlin (dir. Michael Ballhaus and Ciro Cappellari, 2009), Der Weg, den wir nicht zusammen gehen (The Path We Do Not Take Together, dir. Dominik Graf and Martin Gressmann, 2009), and Mauerpark (dir. Dennis Karsten, 2011). They represent the first examples of this emerging nostalgia – significantly different from both Ostalgie (nostalgia for the former East) and Westalgie (nostalgia for the former West) as often portrayed in German feature films and literature. By documenting the rapid transformation and gentrification of Berlin, these films capture both the ways in which these changes took place, and the nostalgic sentiments many Berliners feel about the city’s post-Wall history. Connecting the films with Berlin’s urban and architectural history, city marketing campaigns, art exhibitions, and works of literature allows for an in-depth and simultaneously a broader inter-textual and inter-medial analysis of Berlin’s culture. This approach pushes disciplinary boundaries and develops a methodology for analyzing cities and culture in the post-Fordist creative economy. I examine branding as a cultural phenomenon, not just an economic or marketing one, as well as an over-arching urban-governance practice of the Berlin Senate that encompasses economic and urban development strategies, social policy, and cultural transformations. As Berlin is being rebranded as a creative center, many Berliners have begun to voice a sense of nostalgia for the Babylonian voids, no-man’s-lands, and abandoned buildings throughout the city’s formerly divided center. This “nostalgia for Babylon” is a lens that allows us to see beyond the gentrified surface of the city and its rebranded image of newness and hipness, and to think more critically about how urban identities and cultures are constructed and consumed. 5 ABSTRACT (French) La présente thèse examine les transformations urbaines, culturelles et politiques qu’a connues la ville de Berlin après l’effondrement du Mur à travers une analyse multidisciplinaire du cinéma documentaire, de la littérature, des arts et de la valorisation de marque urbaine par rapport à ce que je nomme la « nostalgie de Babylone », une réaction collective à la valorisation de marque actuelle et au phénomène de l’embourgeoisement de la nouvelle ville de Berlin. Parmi les films que j’analyse en détail se trouvent Berlin Babylon (Hubertus Siegert, 2001), In Berlin (Michael Ballhaus et Ciro Cappellari, 2009), Der Weg, den wir nicht zusammen gehen (Dominik Graf et Martin Gressmann, 2009) et Mauerpark (Dennis Karsten, 2011). Ces films représentent les premiers exemples de cette nostalgie émergente qui se distingue grandement de l’Ostalgie (la nostalgie de l’ancienne Allemagne de l’Est) et de la Westalgie (la nostalgie de l’ancienne Allemagne de l’Ouest), qui sont souvent représentées dans la littérature et dans le cinéma allemands. En documentant la transformation et l'embourgeoisement de Berlin, ces films saisissent les deux façons dont ces changements procèdent et les sentiments nostalgiques que plusieurs Berlinois éprouvent pour l’histoire de la ville depuis la chute du Mur. C’est l’association de ces films avec l’histoire urbaine et architecturale, les campagnes de publicité urbaine, des expositions d’art et des œuvres de la littérature qui rend possible une analyse en profondeur et, en même temps, intermédiale de la culture berlinoise. Cette approche repousse les frontières disciplinaires et développe une méthodologie qui nous permet, dans une économie de création postfordiste, d’analyser aussi bien des villes que des cultures. J’examine la valorisation de marque non pas seulement en tant que phénomènes économique ou de marketing, mais en tant que phénomène culturel et en tant que pratique de gouvernance urbaine du Sénat de Berlin, qui comprend des stratégies de développement économique et urbain, de politique sociale et de transformations culturelles. Alors que Berlin se positionne comme un centre créatif, plusieurs Berlinois ont commencé à exprimer de la nostalgie des vides babyloniens, des no man’s land et des bâtiments abandonnés dont le centre de la ville divisée était parsemé. Cette « nostalgie de Babylone » est un prisme au travers duquel nous pouvons voir au-delà de l’espace embourgeoisé de la ville et de son image de ville nouvelle et branchée. Elle nous permet aussi de penser à la façon dont les identités et cultures urbaines sont construites et consommées. 6 ACKNOWLEDGEMENTS AND DEDICATION I would like to acknowledge the kind support and inspiration of the following people: Karin Bauer, for reminding me to stay focused on this project, for providing research assistanceships and teaching employment when possible. Moreover, she was a strong example of female professional leadership, first as the Chair of the German Department and then as the Chair of four amalgamated departments of Languages, Literatures, and Cultures, despite having higher volume of work and graduate supervision load than anyone else in the department. Will Straw, for suggesting to focus this dissertation around “nostalgia for Babylon,” and for his kind and supportive encouragement of all my work from the very beginning of my doctoral degree at McGill. In a way, this dissertation project started with a paper I wrote on the documentary film Berlin Babylon in his grad course on Media and Urban Life in 2008. Susan Ingram, for letting me brainstorm out-loud during a drive to a conference in Guelph in 2010, where we presented chapters from our Berliner Chic book together, and where I realized for the first time that in Berlin, branding, nostalgia, and visual representations are indeed connected, and that there must be a way to demonstrate these connections. I am very grateful for all the opportunities to talk and work together, for all the encouragement to present and publish my work, and all the joy and accomplishments of the books we’ve worked on and the books to come. Markus Reisenleitner, for positive feedback and encouragement! Many friends and colleagues, for reading drafts and helping me become a better writer and editor. My family and friends, for unconditional love and support, for encouraging me to keep going even when I didn’t think it was possible, for helping me understand the value of (intellectual) marathons and for helping me push myself beyond my own limits, for cheering me on and celebrating every small achievement along the way. I am very grateful
Load more

Recommended publications
  • Download File
    Bergt 1 Siena Sofia Bergt Professor Insdorf Analysis of Film Language 26 February 2018 Colored Perspectives: Shading World War II Onscreen Films that deal with World War II—whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath—have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these worKs recKon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films— Andrzej Wajda’s black-and-white 1958 rendition of the war’s last 24 hours in “Ashes and Diamonds,” the Harlequin prewar chaos of Bob Fosse’s 1972 “Cabaret,” and the delicate balance of color and blacK-and-white characterizing the postwar divided Germany of Wim Wenders’ 1987 “Wings of Desire”—we may access a richer understanding, not simply of the films’ stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text’s taKe on both subjectivity and objectivity. Bergt 2 The best “entry point” into these stylistically and temporally distinct films’ chromatic motifs is through three strikingly analogous crowd scenes—each of which uses communal participation in a diegetically well-known song to highlight a moment of dramatic urgency or volatility.
    [Show full text]
  • P.O.V. a Danish Journal of Film Studies
    Institut for Informations og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor: Richard Raskin Number 8 December 1999 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 8 December 1999 Udgiver: Institut for Informations- og Medievidenskab, Aarhus Universitet Niels Juelsgade 84 DK-8200 Aarhus N Oplag: 750 eksemplarer Trykkested: Trykkeriet i Hovedbygningen (Annette Hoffbeck) Aarhus Universitet ISSN-nr.: 1396-1160 Omslag & lay-out Richard Raskin Articles and interviews © the authors. Frame-grabs from Wings of Desire were made with the kind permission of Wim Wenders. The publication of p.o.v. is made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Institut for Informations- og Medievidenskab Niels Juelsgade 84 8200 Aarhus N e-mail: [email protected] fax: (45) 89 42 1952 telefon: (45) 89 42 1973 This, as well as all previous issues of p.o.v. can be found on the Internet at: http://www.imv.aau.dk/publikationer/pov/POV.html This journal is included in the Film Literature Index. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Science at Aarhus University. We will also invite contributions from colleagues at other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem.
    [Show full text]
  • January 2012 at BFI Southbank
    PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival:
    [Show full text]
  • 1 Language Learning Center Video Catalogue
    Language Learning Center Video Catalogue – Updated July 2016 NO. LANGUAGE TITLE FORMAT DIRECTOR YEAR COMMENTS 4 GERMAN CONGRESS DANCES VHS CHARELL, ERIK 1932 22 GERMAN HARMONISTS, THE DVD VILSMAIER, JOSEPH 1997 54 GERMAN KOLBERG VHS HARLAN, VEIT 1945 71 GERMAN TESTAMENT OF DR. MABUSE, THE VHS LANG, FRITZ 1933 95 GERMAN MALOU VHS MEERAPFELE, JEANINE 1983 96 GERMAN TONIO KROGER VHS THIELE, ROLF 1964 97 GERMAN BARON MUNCHHAUSEN VHS VON BAKY, JOSEF 1943 99 GERMAN LOST HONOR OF KATHARINA BLUM, THE VHS SCHLONDORFF, VOLKER 1975 100 GERMAN THREEPENNY OPERA, THE VHS PABST, G.W. 1931 101 GERMAN JOYLESS STREET VHS PABST, G.W. 1925 102 GERMAN SIEGFRIED VHS LANG, FRITZ 1924 103 GERMAN TIN DRUM, THE DVD SCHLONDORFF, VOLKER 1975 105 GERMAN TIEFLAND VHS RIEFENSTAHL, LENI 1954 111 GERMAN BLICKKONTAKE (TO ACCOMPANY KONTAKE) VHS MCGRAW HILL 2000 127 GERMAN GERMANY AWAKE VHS LEISER, ERWIN 1968 129 GERMAN CAPTAIN FROM KOEPENIK, THE VHS KAUNTER, HELMUT 1956 167 GERMAN GERMANY IN AUTUMN VHS FASSBINDER, RANIER WERNER 1977 199 GERMAN PANDORA'S BOX VHS PABST, G.W. 1928 206 GERMAN ODE TO JOY AND FREEDOM VHS SCHUBERT, BEATE 1990 207 GERMAN ODE TO JOY AND FREEDOM VHS SCHUBERT, BEATE 1990 208 GERMAN ODE TO JOY AND FREEDOM VHS SCHUBERT, BEATE 1990 209 GERMAN ODE TO JOY AND FREEDOM VHS SCHUBERT, BEATE 1990 ROSEN, BOB AND ANDREA 211 GERMAN VIENNA 1900: ART, ARCHITECTURE AND DESIGN VHS SIMON 1986 253 GERMAN CABINET OF DR. CALIGARI, THE VHS WIENE, ROBERT 1919 265 GERMAN DAMALS VHS HANSEN, ROLF 1943 266 GERMAN GOLDENE STADT, DIE VHS HARLAN, VEIT 1942 267 GERMAN ZU NEUEN
    [Show full text]
  • Alexander Kluge Raw Materials for the Imagination
    FILM CULTURE IN TRANSITION Alexander Kluge Raw Materials for the Imagination EDITED BY TARA FORREST Amsterdam University Press Alexander Kluge Alexander Kluge Raw Materials for the Imagination Edited by Tara Forrest Front cover illustration: Alexander Kluge. Photo: Regina Schmeken Back cover illustration: Artists under the Big Top: Perplexed () Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) e-isbn nur © T. Forrest / Amsterdam University Press, All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustra- tions reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. For Alexander Kluge …and in memory of Miriam Hansen Table of Contents Introduction Editor’s Introduction Tara Forrest The Stubborn Persistence of Alexander Kluge Thomas Elsaesser Film, Politics and the Public Sphere On Film and the Public Sphere Alexander Kluge Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s Contribution to G I A Miriam Hansen ‘What is Different is Good’: Women and Femininity in the Films of Alexander Kluge Heide
    [Show full text]
  • WHY ARE YOU CREATIVE? Teilnehmerinnen Und Teilnehmer
    Leipziger Straße 16 Telefon +49 (0)30 202 94 0 D-10117 Berlin Telefax +49 (0)30 202 94 111 E-Mail [email protected] www.museumsstiftung.de WHY ARE YOU CREATIVE? Teilnehmerinnen und Teilnehmer ARTISTS ACTORS Marina Abramovic – Amsterdam 2012 Johnny Depp – Berlin 1994 Christo & Jeanne-Claude – Berlin 2001 Mel Gibson – Los Angeles 2000 Damien Hirst – Berlin 1994 Dennis Hopper – Marrakesh 1995 David Hockney – Bonn 1999 Sean Penn – San Francisco 1999 Jeff Koons – Berlin 2000 Gérard Depardieu – Berlin 2012 Jonathan Meese – Berlin 2007 Ben Kingsley – London 1995 Georg Baselitz – Derneburg 2000 Till Schweiger – Los Angeles 2000 Mordillo – Frankfurt 1999 Sir Ian McKellen – Los Angeles 1995 Yoko Ono – Venice 2002 Forest Whittaker - Los Angeles 2002 Tracey Emin – London 1999 Armin Mueller-Stahl – Los Angeles 1998 Eva & Adele – Berlin 2001 Sir Peter Ustinov – London 1999 Tom Sachs – New York 2000 Gary Oldman – Los Angeles 2001 Kenny Scharf – Los Angeles 1999 Karl-Heinz Böhm - Frankfurt 1997 Douglas Gordon – Frankfurt 2012 Vadim Glowna – Berlin 1998 Okwui Enwezor - New York 2002 Anthony Quinn – New York 1995 Joe Coleman – New York 2003 Otto Sander - Berlin 1997 Mariscal - Barcelona 1999 Bruno Ganz – Berlin 2002 Olu Oguibe – London 2000 Bill Murray – Los Angeles 2004 Klaus Staeck – Frankfurt 1995 Michael Madsen – Los Angeles 2010 Roland Topor - Hamburg 1994 John Hurt – London 2013 George Lois – New York 1995 Stephen Dorff – Istanbul 2013 Ana Zarubica – Prague 2009 Michael Douglas - Berlin 2013 Sebastian Horsley – London 2008 Willem Dafoe – New York
    [Show full text]
  • List of Films Set in Berlin
    LisListt of ffilmsilms sesett in Berlin From Wikipedia, the free encyclopedia This is a list of films whose setting is Berlin, Germany. Contents 1 1920s 2 1930s 3 1940s 4 1950s 5 1960s 6 1970s The world city Berlin is setting and filming location of 7 1980s numerous movies since the beginnings of the silent film 8 1990s era. 9 2000s 10 2010s 11 See also 1920s 1922 Dr. Mabuse the Gambler ( ( Dr Dr.. Mabuse, dederr SpielSpieler er ), 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang. 1924 The Last Laugh ( ( Der Letzte Mann), 1924 - The aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau. 1925 Varieté ( (Variety), 1925 - Circus melodrama set in Berlin, with the circus scenes in the Berlin Wintergarten, by EwEwalaldd AnAndrédré DDuupontpont.. Slums of Berlin ( ( Di Diee Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht. 1926 Di Diee letzte DrDroschkeoschke vvonon BeBerlirlinn, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese. 1927 Ber Berlin:lin: Symphony of a GGreatreat City ( ( Ber Berlin:lin: DiDiee Sinfonie der GroßsGroßstadt tadt ), 1927 - Expressionist documentary film of 1920s Berlin by Walter Ruttmann. Metropolis, 1927 - Berlin-inspired futuristic classic by Fritz Lang. 1928 Refuge ( ( Zuflucht ), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn.
    [Show full text]
  • January 1988
    VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J.
    [Show full text]
  • The Experimental Music of Einstürzende Neubauten and Youth Culture in 1980S West Berlin
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2012-10-03 The Experimental Music of Einstürzende Neubauten and Youth Culture in 1980s West Berlin Ryszka, Michael Andrzej Ryszka, M. A. (2012). The Experimental Music of Einstürzende Neubauten and Youth Culture in 1980s West Berlin (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28149 http://hdl.handle.net/11023/259 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Experimental Music of Einstürzende Neubauten and Youth Culture in 1980s West Berlin by Michael Andrzej Ryszka A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GERMANIC, SLAVIC AND EAST ASIAN STUDIES CALGARY, ALBERTA SEPTEMBER 2012 © Michael Andrzej Ryszka 2012 Abstract In this thesis I examine the music of West Berlin experimental music group Einstürzende Neubauten. The unique social, political, and economic conditions of West Berlin during the 1980s created a distinct urban environment that is reflected in the band’s music. The city has been preserved by Einstürzende Neubauten in the form of sound recordings, and conserved in the unique instruments originally found by the band on the streets of West Berlin.
    [Show full text]
  • Baustellen Der Zerstörung Literatur, Architektur Und Dekonstruktion
    BAUSTELLEN DER ZERSTÖRUNG LITERATUR, ARCHITEKTUR UND DEKONSTRUKTION CONSTRUCTION SITES OF DESTRUCTION LITERATURE, ARCHITECTURE, AND DECONSTRUCTION by Johannes Birke A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October, 2014 © 2014 Johannes Birke All Rights Reserved Intented to be blank ii Abstract My dissertation Construction Sites of Destruction. Literature, Architecture, and Deconstruction analyzes representational and epistemological modes of architectural destruction in literature, theory, and film since the 1960s. I argue in my thesis that architectural destruction challenges the limits of writing, building, and memory, and that this is integral to the production and understanding of architecture and literature in the late twentieth century. I take a decidedly transmedial perspective toward the relationship between architecture and literature, and include examples of painting, photography, and film. As a program of dismantling the ‘architecture’ of Western philosophical thought, the rise of deconstruction in the late 1960s found immediate resonance among the architects of the period. Deconstruction pervades their theoretical work no less than their actual processes of designing and building. I argue that deconstruction is central to not only the displacement of the system of architectural metaphors (in philosophy), but also with the concrete materiality of architecture itself. My thesis links the metaphorical and material aspects of architectural destruction in order to establish a new theoretical framework for the construction, representation, and reception of architecture in literature and cinema. Close readings of Thomas Bernhard’s novels Das Kalkwerk and Korrektur set up a ‘poetology of construction sites of destruction.’ With Bernhard, I show how architecture becomes an agent in both the processes of writing and destroying (itself, among other things).
    [Show full text]
  • German Films Quarterly 2 · 2004
    German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS.
    [Show full text]
  • Erster Regie-Diversitätsbericht Des BVR 2010-2013
    Erster Regie-Diversitätsbericht des BVR 2010-2013 Analysen zur Regievergabepraxis in den fiktionalen Primetime-Programmen von ARD und ZDF sowie Genderreport zum deutschen Kinofilm Erster Regie-Diversitätsbericht des BVR 2010-2013 BVR des Regie-Diversitätsbericht Erster Erster Regie-Diversitätsbericht des BVR 2010-2013 Analysen zur Regievergabepraxis in den fiktionalen Primetime-Programmen von ARD und ZDF sowie Genderreport zum deutschen Kinofilm Impressum Herausgeber: Bundesverband Regie e.V. Augsburger Straße 33 10789 Berlin © 2014 2. Auflage Januar 2015 Projektleitung: Esther Gronenborn (Geschäftsführende Vorständin BVR) Verena S. Freytag (Vorständin & Frauenbeauftragte BVR) Datenanalyse und -auswertung: Claudia Brenner, KompetenzMosaik Mitarbeit/Recherche: Belinde Ruth Stieve Gestaltung und Graphik: Petra Horn eine PDF-Broschüre ist online verfü gbar: www.regieverband.de ISSN 2363-5835 Deutschland 2014 Dieser Bericht wurde mit freundlicher Unterstützung der VG Bild-Kunst, der Spitzenorganisation der Filmwirtschaft e.V. (SPIO) sowie der Filmförderanstalt (FFA) erstellt und mit Mitteln der Stiftung Kulturwerk der VG Bild-Kunst gefördert. Inhalt Vorwort 5 Gesamtüberblick 6 1. ANALYSE FIKTIONALES PROGRAMM ARD UND ZDF 7 1.1. Serien und Reihen 8 1.1.1. Vorabend 8 1.1.2. Hauptabend bis 60 min 11 1.1.3. Hauptabend über 60 min 13 1.2. Untersuchung der wichtigsten Sendeplätze 16 1.2.1. Hauptsendeplätze, ab 20:15 h 16 1.2.2. ZDF-Fernsehfilm der Woche, Montagabend, 20:15 h 17 1.2.3. ARD-Serienabend, Dienstag, 20:15 sowie 21:15 h 18 1.2.4. FilmMittwoch im Er sten, Mittwoch, ARD 20:15 h 19 1.2.5. ARD-Unterhaltungsfilm, Freitag, 20:15 h 20 1.2.6. ZDF-Krimischiene, Freitag, 20:15 h 21 1.2.7.
    [Show full text]