The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society

Countless representations in different media and genres through several decades make Hitler one of the most productive icons on a global scale. The analysis of this icon seems of fundamental theoretical interest as its original semantics as the embodiment of evil challenges common notions of icon wo...

وصف كامل

التفاصيل البيبلوغرافية
المؤلف الرئيسي: Mirjam Gebauer
التنسيق: مقال
اللغة:Danish
منشور في: Aalborg University Open Publishing 2015-06-01
سلاسل:Akademisk Kvarter
الموضوعات:
الوصول للمادة أونلاين:https://journals.aau.dk/index.php/ak/article/view/2785
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author Mirjam Gebauer
author_facet Mirjam Gebauer
author_sort Mirjam Gebauer
collection DOAJ
description Countless representations in different media and genres through several decades make Hitler one of the most productive icons on a global scale. The analysis of this icon seems of fundamental theoretical interest as its original semantics as the embodiment of evil challenges common notions of icon work between collaborative iconolatry, on the one hand, and adversarial iconoclasm, on the other. However, the range of different significances to be found in contemporary Hitler representations suggests that the icon serves to work through issues of the respective context in which it is used. I will argue that, interestingly, especially representations claiming to do justice to history and to the historical person Hitler might be problematized and seen as part of a “remembrance industry”, while pop-cultural, often humorous representations of the icon establish a critical meta-level allowing audiences to reflect on certain phenomena in contemporary media society.
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spelling doaj.art-3548626692014c4c8ffedd6d9163e1962024-04-02T16:37:56ZdanAalborg University Open PublishingAkademisk Kvarter1904-00082015-06-011010.5278/ojs.academicquarter.v0i10.2785The Pop-Icon Hitler as a Trope of Critical Reflection on Media SocietyMirjam GebauerCountless representations in different media and genres through several decades make Hitler one of the most productive icons on a global scale. The analysis of this icon seems of fundamental theoretical interest as its original semantics as the embodiment of evil challenges common notions of icon work between collaborative iconolatry, on the one hand, and adversarial iconoclasm, on the other. However, the range of different significances to be found in contemporary Hitler representations suggests that the icon serves to work through issues of the respective context in which it is used. I will argue that, interestingly, especially representations claiming to do justice to history and to the historical person Hitler might be problematized and seen as part of a “remembrance industry”, while pop-cultural, often humorous representations of the icon establish a critical meta-level allowing audiences to reflect on certain phenomena in contemporary media society. https://journals.aau.dk/index.php/ak/article/view/2785icon, Hitler, culture of remembrance, Hipster Hitler, Timur Vermes
spellingShingle Mirjam Gebauer
The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society
Akademisk Kvarter
icon, Hitler, culture of remembrance, Hipster Hitler, Timur Vermes
title The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society
title_full The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society
title_fullStr The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society
title_full_unstemmed The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society
title_short The Pop-Icon Hitler as a Trope of Critical Reflection on Media Society
title_sort pop icon hitler as a trope of critical reflection on media society
topic icon, Hitler, culture of remembrance, Hipster Hitler, Timur Vermes
url https://journals.aau.dk/index.php/ak/article/view/2785
work_keys_str_mv AT mirjamgebauer thepopiconhitlerasatropeofcriticalreflectiononmediasociety
AT mirjamgebauer popiconhitlerasatropeofcriticalreflectiononmediasociety