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Category: Germany

“New Woman,” Old Stereotypes: A Comparative Study of the Weimar Republic and Nazi Germany’s “New Woman” in Visual Culture

Written by Alisha Reid

If I asked you to picture the 1920s “New Woman”, the image that would come to your mind would most likely be based on what you have seen in films and TV shows – both old and modern – of a sexually and financially liberated woman with her short hair and vampy makeup, her boyish-figure draped in a flapper dress. This caricature is not incorrect but it is exactly that: a caricature. This style of woman is almost synonymous with Weimar German culture following the First World War. It is this “New Woman” that people remember seeing in the numerous films that German studios produced over the period. However, what people often fail to remember are the negative narratives surrounding the “New Woman” in Weimar films and the emphasis placed on abandoning this stereotype.

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Im Westen etwas Neues: The Modernisation of All Quiet on the Western Front

Written by Helena Power

One of the legacies of the Great War Centenary is that there is a plethora of ‘forgotten’ stories about the war that remain to be explored. It is therefore somewhat ironic that the latest film about the conflict is a new adaptation of Erich Maria Remarque’s 1929 novel, All Quiet on the Western Front (Im Westen nichts Neues). The original film adaptation was released in 1930, so this presents an interesting opportunity to look at the retelling of an adaptation almost a century later. By comparing and contrasting the 2022 remake with the 1930 film, we can observe how modern filmography trends have changed the ways we tell stories about the past. For brevity, I will avoid the 1979 film adaptation. For ease of reference, the 2022 film will be referred to by its German title of Im Westen nichts Neues (or Im Westen), and the 1930 film as All Quiet on the Western Front (or All Quiet).

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Black Form (Dedicated to the Missing Jews): The Destruction of A Holocaust Memorial

Written by Stefan Goebel

Today it would be scandal, but back then, 35 years ago in February 1988, hardly anyone raised an eyebrow when the Black Form (Dedicated to the Missing Jews) was bulldozed to the ground. To be sure, this black cube built of blocks of aerated concrete was never meant to be a permanent memorial; it had been commissioned as a temporary work of art. The American artist Sol LeWitt (1928–2007) had created it for the second instalment of the international Skulptur Projekte exhibition in my home town Münster in 1987.

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‘Back to the Roofs’: The Spatial Propaganda of Munich’s Olympic Stadium

Written by Peter Banks

From 11 to 21 August 2022, the multi-sport European Championships took place at Munich’s Olympic Park. Whilst this event occurs every four years, there is a particular historical resonance for this year’s championships for Munich, and Germany, as it coincides with the 50th anniversary of the 1972 Olympic Games held in Munich. Unfortunately, these Olympic Games will always be tainted by the terrorist attack carried out by the Palestinian group ‘Black September’ on the Israeli athletes in the Olympic village on 5 September 1972. However, the Munich games are also remembered and celebrated for how a new, democratic Germany was presented to the world only twenty-seven years after the end of the Second World War. Effectively utilised as a means of propaganda, the symbolic design of Munich’s Olympic stadium spatially exemplified this message and subsequently became a piece of iconic architecture. This is clearly illustrated by the slogan of this year’s European Championships, ‘Back to the Roofs’.

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