Suchergebnisse

Europa hat im 20. Jahrhundert eine Reihe unterschiedlicher Kooperationsmodelle erlebt. Ausgehend von Richard Coudenhove-Kalergis Vorstellung eines Pan-Europa, diskutieren die Beiträge dieses Bandes politische, kulturelle und finanzielle Kooperationen auf europäischer Ebene. Zeitliche Schwerpunkte bilden dabei die Zwischenkriegszeit, die kommunistische Periode und die Phase nach dem Zusammenbruch der Sowjetunion, die den betroffenen Staaten neue Chancen multilateraler und regionaler Zusammenarbeit eröffnete. Die Autorinnen und Autoren sind an universitären und außeruniversitären Einrichtungen i

Intro -- Titelblatt -- Urheberrecht -- Kapitel 1 -- Kapitel 2 -- Kapitel 3 -- Kapitel 4 -- Kapitel 5 -- Kapitel 6 -- Kapitel 7 -- Kapitel 8 -- Kapitel 9 -- Kapitel 10 -- Kapitel 11 -- Kapitel 12 -- Kapitel 13 -- Kapitel 14 -- Kapitel 15 -- Kapitel 16 -- Kapitel 17 -- Kapitel 18 -- Kapitel 19 -- Kapitel 20 -- Kapitel 21 -- Kapitel 22 -- Kapitel 23 -- Kapitel 24 -- Kapitel 25 -- Kapitel 26 -- Kapitel 27 -- Kapitel 28 -- Kapitel 29 -- Kapitel 30 -- Kapitel 31 -- Kapitel 32 -- Kapitel 33 -- Kapitel 34 -- Kapitel 35 -- Kapitel 36 -- Kapitel 37.

Recognized as one of the founding fathers of the documentary style, August Sander is the creator of many iconic twentieth-century photographs. Towards the end of the First World War, while working from his studio in Cologne, Sander began what would become his life's work: a photographic portrait of German society under the Weimar Republic. He called this endeavor People of the 20th Century. While his first publication was banned from sale in 1936 by the National Socialist government, in around 1938 Sander began taking identity photographs for persecuted Jews. During the Second World War he photographed migrant workers; Sander included these images, as well as some taken by his son Erich from the prison where he would die in 1944, in People of the 20th Century, along with portraits of national socialists made before and during the war. Sander was unable to publish his monumental work during his lifetime, but his descendants champion his vision to this day. These photographs are published together for the first time here, along with contact prints, letters and details about the lives of those photographed. They are portraits of dignified men and women, victims of an ideology taking their rightful place as "People of the 20th Century" in defiance of Nazi efforts to ostracize them. "Ungeachtet einer hochemotionalen Seite des Themas, scheint sich der Künstler Zurückhaltung im bildnerischen Zugriff verordnet zu haben. Weder macht er aus den jüdischen Menschen geknechtete Opfer noch aus den Täten Hyänen. Sanders Juden strahlen gefasste Würde aus, während die Männer in Uniform als reichlich normale Bürger in die Kamera blicken: Biedermänner, deren Potential als Brandstifter die Geschichte allerdings schon damals offenbarte. Diese dokumentarische Haltung macht das Unternehmen insgesamt stimmig und verleiht ihm à la longue politische Wucht. Schnell war sich die Jury einig: In der Brisanz des Themas, seiner gelungenen konzeptionellen Umsetzung im Verein mit einer handwerklich überzeugenden Übersetzung in ein Buch hat dieser bei Steidl erschienene herausragende Band den diesjährigen Deutschen Fotobuchpreis in der Kategorie "Fotograf (Monografien)" ungeteilt verdient" (Deutscher Fotobuchpreis 18 |19, Kategorie: Fotograf (Monografie), Laudatio zur Preisverleihung am 16.11.2018, Laudator: Hans-Michael Koetzle)

In the digital age, we often encounter analog photographs as things that – after having been stored away, lost, or even thrown away – are (re)found. The fascination with such found photographs is reflected in a striking way in contemporary essay and documentary film. Found photo films are an essayistic documentary form that has emerged since the turn of the millennium: Films that work with left-behind, rescued, or found convolutions of photographic images, collecting, selecting, and placing them in a new context. They stand in a field of tension between popular aestheticization and re-auratization of analog media in the course of digitalization as well as a long tradition of cinematically reflecting the materiality and mediality of film by working with photography and found footage. Charlotte Praetorius explores such appropriations of analog photographs through a corpus of international films: How do filmmakers relate to photographic found footage? How do the narratives and the narrativity of photography and history intertwine? How is the photographic material arranged and staged? And how can the relationships between different media and materials be grasped? In doing so, Praetorius is also concerned with taking the forms of documentary and essayistic film seriously as a medium for reflecting on (media) history and at the same time also critically questioning them.