Archives for the Future
Abstract | Visual media played a crucial role on nearly all levels of everyday private and public life in the GDR. This essay intends to readjust the focus on GDR visual history by investigating its margins, including ephemeral and semi-official film archives beyond the “official” state-controlled p...
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| Format: | Article |
| Language: | English |
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University of Alberta
2018-04-01
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| Series: | Imaginations: Journal of Cross-Cultural Media Studies |
| Online Access: | https://journals.library.ualberta.ca/imaginations/index.php/imaginations/article/view/29380 |
| _version_ | 1818277124072538112 |
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| author | Tobias Ebbrecht-Hartmann |
| author_facet | Tobias Ebbrecht-Hartmann |
| author_sort | Tobias Ebbrecht-Hartmann |
| collection | DOAJ |
| description | Abstract | Visual media played a crucial role on nearly all levels of everyday private and public life in the GDR. This essay intends to readjust the focus on GDR visual history by investigating its margins, including ephemeral and semi-official film archives beyond the “official” state-controlled production of images. It does not reexamine such ephemeral cinematic remnants as historical sources but rather as traces that have to be understood in context and appropriated, arranged, and re-read, assembling them as fragments of the past. The specific focus here is on the works of Thomas Heise, a filmmaker who—although prohibited from producing and publicly releasing films during the existence of the GDR—managed to create during that time various audio and visual artifacts as contributions to archives for the future. Résumé | En la RDA les médias visuels ont joué un rôle crucial dans presque tous les domaines de la vie quotidienne, qu’elle soit privée ou publique. Cet essai a pour but de réajuster le focus sur l’histoire visuelle de la RDA en examinant ses marges, en incluant les archives éphémères et semi-officielles au-delà de la production “officielle” d’images. Cet essai ne réexamine pas ces vestiges cinématographiques éphémères en tant que sources historiques, mais comme des traces devant être comprises dans un certain contexte, approprié, arrangé et re-lu. Cette discussion sur les traces cinématographiques éphémères ainsi que les techniques d’assemblage de fragments du passé explore l’oeuvre de Thomas Heise, un réalisateur unique dans son genre qui – bien qu’il soit interdit de produire et de mettre en circulation publiquement des films sous le régime de la RDA – a créé pendant ce temps des artefacts audios et visuels comme contributions aux archives pour l’avenir. |
| first_indexed | 2024-12-12T22:56:33Z |
| format | Article |
| id | doaj.art-27fca921496d43509488e4a7cb8e4947 |
| institution | Directory Open Access Journal |
| issn | 1918-8439 |
| language | English |
| last_indexed | 2024-12-12T22:56:33Z |
| publishDate | 2018-04-01 |
| publisher | University of Alberta |
| record_format | Article |
| series | Imaginations: Journal of Cross-Cultural Media Studies |
| spelling | doaj.art-27fca921496d43509488e4a7cb8e49472022-12-22T00:08:55ZengUniversity of AlbertaImaginations: Journal of Cross-Cultural Media Studies1918-84392018-04-0181647710.17742/IMAGE.GDR.8-1.529380Archives for the FutureTobias Ebbrecht-Hartmann0Hebrew UniversityAbstract | Visual media played a crucial role on nearly all levels of everyday private and public life in the GDR. This essay intends to readjust the focus on GDR visual history by investigating its margins, including ephemeral and semi-official film archives beyond the “official” state-controlled production of images. It does not reexamine such ephemeral cinematic remnants as historical sources but rather as traces that have to be understood in context and appropriated, arranged, and re-read, assembling them as fragments of the past. The specific focus here is on the works of Thomas Heise, a filmmaker who—although prohibited from producing and publicly releasing films during the existence of the GDR—managed to create during that time various audio and visual artifacts as contributions to archives for the future. Résumé | En la RDA les médias visuels ont joué un rôle crucial dans presque tous les domaines de la vie quotidienne, qu’elle soit privée ou publique. Cet essai a pour but de réajuster le focus sur l’histoire visuelle de la RDA en examinant ses marges, en incluant les archives éphémères et semi-officielles au-delà de la production “officielle” d’images. Cet essai ne réexamine pas ces vestiges cinématographiques éphémères en tant que sources historiques, mais comme des traces devant être comprises dans un certain contexte, approprié, arrangé et re-lu. Cette discussion sur les traces cinématographiques éphémères ainsi que les techniques d’assemblage de fragments du passé explore l’oeuvre de Thomas Heise, un réalisateur unique dans son genre qui – bien qu’il soit interdit de produire et de mettre en circulation publiquement des films sous le régime de la RDA – a créé pendant ce temps des artefacts audios et visuels comme contributions aux archives pour l’avenir.https://journals.library.ualberta.ca/imaginations/index.php/imaginations/article/view/29380 |
| spellingShingle | Tobias Ebbrecht-Hartmann Archives for the Future Imaginations: Journal of Cross-Cultural Media Studies |
| title | Archives for the Future |
| title_full | Archives for the Future |
| title_fullStr | Archives for the Future |
| title_full_unstemmed | Archives for the Future |
| title_short | Archives for the Future |
| title_sort | archives for the future |
| url | https://journals.library.ualberta.ca/imaginations/index.php/imaginations/article/view/29380 |
| work_keys_str_mv | AT tobiasebbrechthartmann archivesforthefuture |