Heft 3-4/2019

Beiträge

Michael Lissek
Die Zukunft einer Illusion
Anmerkungen zum Radiofeature. Peter Leonhard Braun zum 90sten

Tim Schinschick
Geschichte im Ohr
Geschichtsradiosendungen zum zehnjährigen Jubiläum des Mauerfalls als auditive Erzählmontagen

Ingrid Pietrzynski
Günter Kunert als Medienautor in DDR-Hörfunk und -Fernsehen 1953 – 1979
Eine Dokumentation

Veit Scheller
„Ich war ein Entscheider und ich hatte Visionen“
Rundfunkhistorisches Gespräch mit Dieter Stolte (Auszüge)

Studienkreis-Informationen

Uwe Breitenborn
Translation – Übertragung – Transmission. Übersetzungsleistungen des Rundfunks in historischer und aktueller Perspektive
49. Jahrestagung des Studienkreises Rundfunk und Geschichte

Uwe Breitenborn
Neuer Vorstand des Studienkreises gewählt

Audiovisuelles Kulturgut ins Internet!
Stellungnahme des Studienkreises Rundfunk und Geschichte

Kai Knörr
Medienhistorisches Forum 2019
am 8. und 9. November in Lutherstadt Wittenberg

Forum

Stephan Summers
Jahrestagung der Gesellschaft für Musikforschung
vom 23. bis 26.09.2019 in Paderborn/Detmold

Christoph Classen
Nachruf Axel Schildt (1951-2019)

Hans-Jürgen Börner
Oral-History-Projekt beim NDR
Ein Erfahrungsbericht

Dissertationsvorhaben

Daria Gordeeva
Kampffeld Geschichte: Die (Re-)Konstruktion der Sowjetunion und der DDR im Film

Abstract
Historical memory is a battlefield where different stakeholders fight for the power to define how the past should be remembered. In these „memory wars” media play a crucial role. Using the example of two former socialist states, the GDR and its „big brother”, the Soviet Union, this doctoral thesis examines how historical films construct the communist past and affect the collective memory of life under socialism. The leading German media remember the GDR almost exclusively as a dictatorship, as a state of lawlessness, Stasi, economic mismanagement and missing freedoms. This contrasts with an idealized image of the Soviet past in contemporary Russia. The „selective national amnesia” is reflected in highlighting the Soviet Union’s rise to superpower status and Soviet achievements in industry, science and space exploration, while downplaying and marginalizing repressions and terror. How do series, cinema, and TV films represent the GDR and the SU? What is remembered – what remains forgotten? Which image of society is drawn? To answer these questions, the dissertation is grounded in the Assmann’s theory of collective memory and the (Critical) Discourse Analysis as practiced by Michel Foucault and Margarete and Siegfried Jäger. The focus lies on analyzing film narratives, contexts, in which films are produced and received, as well as involved stakeholders and their particular interests. Highly acclaimed productions such as HBO miniseries „Chernobyl“ and film biography „Gundermann” as well as less successful films will be considered.

Nikolai Okunew
Red Metal – Heavy Metal als eine Subkultur der DDR

Abstract
In my dissertation, I will examine the emergence and development of the Heavy Metal subculture and its practices under the prevailing conditions of socialism. The emphasis is on practices related to live concerts and music consumption. I will examine a broad variety of sources such as Western and Eastern magazines, files from the Stasi Records Agency and material such as letters to the state owned radio from the German Broadcasting Archives. Additionally I conducted around 30 interviews with fans, musicians and a radio presenter. The goal is to draw conclusions about a non-discursive and emotional dimension of these subcultural practices that forced the regime to take action even though Heavy Metal fans rarely desired to take part in open political opposition. In a final step, I will examine the fate and demise of the Eastern Heavy Metal subculture, which gave rise to new and extreme forms such as Black and Death Metal starting in the early 1990s.

Fabian Sickenberger
Afrikaperspektiven. Das Afrikabild der Tagesschau zwischen 1952 und 2018

Abstract
This PhD project aims to present the first holistic and representative analysis of Africa’s image in “Tagesschau”, Germany’s longest lasting, most prestigious and trustworthy TV newscast. For this purpose, it questions the often-cited criticism that international news cover the African continent in an excessively negative and crisis-oriented way, while at the same time misses to report about its vast diversity. Although this critique has been analyzed extensively in empirical studies on Africa’s image in newspapers, German television until date was only very rarely the focus of such research. This project therefore intends to make a significant contribution to a field, which has hitherto for the most part stayed a desideratum. In the course of a comprehensive content analysis, 1773 “Tagesschau” news stories, which were aired between 1952 and 2018, are being analyzed with regard to the following variables: frequency, placement, scope, topics, actors, communicators (each on a quantitative basis) as well as media frames and visual images (on a qualitative basis). Apart from the variables mentioned above, two aspects will be particularly decisive in the subse-quent analysis: the geographical distribution of “Tagesschau”’s Africa coverage as well as its tem-poral shifts and changes in more than six and a half decades of television history.

Maximilian Haberer
Das Tonband-Regime. Zur Soundästhetik und Hörkultur des Magnettonbandes

Abstract
Between the 1950s and 1980s, sound has been almost exclusively recorded on audio tape. Despite this apparent dominance of tape technology in the recording studios and in consumers’ homes, audio tape’s influence on the development and aesthetics of popular culture as well as art music has been highly underestimated by cultural media studies and musicology scholars alike. Even though there are numerous publications on the influence of the phonograph, on the one hand, and digital technology, on the other, a full account of the importance of audio tape recording for 20th century music is yet to be written. This dissertation aims to close this gap by reviewing the various uses and appropriations of audio tape technology, reflecting its influence on music culture and subsequently identifying audio tape’s idiosyncratic sound aesthetics and hearing cultures. Moreover, by sketching out a tape regime, the dissertation’s objective is to liberate audio tape from its subaltern status, compared to the phonograph and digital recording, and to challenge traditional sound concepts that are based on these discourse-dominating technologies.

Rezensionen

Monique Miggelbrink
Fernsehen und Wohnkultur. Zur Vermöbelung von Fernsehgeräten in der BRD der 1950er- und 1960er-Jahre
(Verena Limper)

Nicholas J. Schlosser
Cold War on the Airwaves. The Radio Propaganda War against East Germany
(Christoph Classen)

Michael J. Socolow
Six Minutes in Berlin: Broadcast Spectacle and Rowing Gold at the Nazi Olympics
(Christoph Hilgert)

Torsten Musial, Nicky Rittmeyer (Hg.)
Karl Fruchtmann. Ein jüdischer Erzähler
(Moritz Reininghaus)