Constructions of Cultural Identities in Newsreel Cinema and Television after 1945
Diese Publikation zitieren
Getrackt seit 05/2018
Beschreibung / Abstract
Newsreel cinema and television not only served as an important tool in the shaping of political spheres and the construction of national and cultural identities up to the 1960s. Today's potent televisual forms were furthermore developed in and strongly influenced by newsreels, and much of the archived newsreel footage is repeatedly used to both illustrate and re-stage past events and their significance.
This book addresses newsreel cinema and television as a medium serving the formation of cultural identities in a variety of national contexts after 1945, its role in forming audiovisual narratives of a »biopic of the nation«, and the technical, aesthetical, and political challenges of archiving and restaging cinematic and televisual newsreel.
Kornelia Imesch (Prof. Dr.) is professor for modern and contemporary art and architecture at the Section d'histoire de l'art, University of Lausanne, Switzerland.
Sigrid Schade (Prof. Dr.) studied between 1973 and 1977 Art History, German Studies and Empirical Cultural Sciences at the University of Tübingen and the Warburg Institute in London. She took her doctorate in 1982 with a thesis on »Representations of witches in the Early Modern period«. She was a volunteer at the Staatliche Sammlungen [National Collections] in Kassel and has lectured at the universities of Marburg, Kassel, Zurich and Bern. From 1986-91 she was a Research Assistent at TU Berlin and from 1991-93 at the Institute for Advanced Study in the Humanities (KWI) in Essen. Following positions as a visiting and temporary professor at the University of Tübingen and Humboldt University in Berlin, Sigrid Schade qualified as a Professor in 1994, with a treatise on »Körperbilder und ihre Lektüren. Studien zum Einsatz von Körpersprachen in Kunst und Fotografie des 16. bis 20. Jahrhunderts« [Body images and their readings. Studies on the use of body languages in art and photography from the 16th to the 20th century] at the University of Oldenburg. From 1994 to 2004, as Professor of Art History and Aesthetic Theory, she taught Cultural Sciences at the University of Bremen (given leave for the last two years). In 2002 she was appointed Head of the newly founded Institute for Cultural Studies in the Arts at HGKZ and developed the concept for its remit. Until the merger which created Zurich University of the Arts, she was also responsible for the Museum für Gestaltung (Design) in Zurich and its collections, which she helped to restructure. Focus areas for her own research include the interaction between old and new media in art and mass culture, theories of media, perception and memory, concepts and theory development in visual culture and cultural analysis, the history and discourse analysis of art institutions and the art business, and contemporary female artists.
Samuel Sieber (PhD) is a researcher in Basel, and Zurich, Switzerland.
Open Access Angabe
- Constructions of Cultural Identities in Newsreel Cinema and Television after 1945. Introduction
- PART 1: CONSTRUCTIONS OF CULTURAL IDENTITIES IN NEWSREEL
- The Politics of Archives. Media, Power, and Identity
- The Creation of Cultural Identity through Weekly Newsreels in Germany in the 1950s. As Illustrated by the NEUE DEUTSCHE WOCHENSCHAU and the UFA-WOCHENSCHAU
- West German State Newsreels in the Period of the Economic Miracle 1950-1964. Gender as an Open Approach
- The Visual Memory of the Cold War. The Long Afterlife of the FOX TÖNENDE WOCHENSCHAU Newsreels on the Building of the Berlin Wall
- Art Exhibitions through Newsreels. An Avatar for Identity Politics (1945-1960)
- PART 2: ART AND CULTURE IN NEWSREEL, CINEMA, AND TELEVISION
- Jean Tinguely & Le Corbusier in Swiss Weekly Film Newsreels and Television. Medial Rhetorics—Medial Discourses
- Fiction and Newsreel Documentary in Godard’s Cinema
- Between Migration and Integration. Representing Religious Boundaries in Swiss Documentaries
- Re-marking of Differences: Culture Television and Art interplaying. Variability of Cultural Magazines and their Heterogeneous Dispositions
- Constructing an Emancipated Culture of Art Spectatorship? The Ambiguity of Ben Lewis’s Reportage-Series ART SAFARI (2003-2006)