Article Abstracts<\/strong><\/p>\n

Anja Katharina Seiler | <\/strong>Aussteigen<\/em> (getting out) Impossible\u2014Montage and Life Scenarios in Andres Veiel\u2019s Film Black Box BRD<\/em><\/strong><\/p>\n

Andres Veiel\u2019s 2001 documentary film, Black Box BRD<\/em>, links the biography of Alfred Herrhausen, RAF victim, with one of the 3^{rd<\/sup> generation RAF terrorists, Wolfgang Grams. In my paper, I trace how the film\u2019s aesthetics introduce an image montage of two life scenarios by establishing both parallels and contrast, and therefore, following Susan Haywards definition \u201ccreates a third meaning\u201d (112). I examine how the film establishes an aesthetic concept of Aussteigen<\/em> (getting out)\u2014along of the alive, visible bodies\u2014the contemporary interviewees, and dead, invisible bodies\u2014of Herrhausen and Grams.<\/p>\n}

Noah Soltau | The Aesthetics of Violence and Power in Uli Edel\u2019s Der Baader Meinhof Komplex<\/em><\/strong><\/p>\n

The confluence of art, politics, and aesthetics has a troubled and troubling history, and the article reflects on that by examining the aesthetics of Uli Edel\u2019s film Der Baader Meinhof Komplex<\/em> in terms of its use of iconic historical and\u2014in terms of film history\u2014stereotypical images. The absence of conventional narrative structures in the film opens it up to methods of understanding and critique that use image and montage as a means of analysis, rather than examining a cogent (because absent) narrative. By cataloguing the use of different genre conventions and iconic film images and tropes, the article points toward the development of a \u201cterror(ism)\u201d genre.<\/p>\n

Maria Stehle | Askew Positions\u2014Schieflagen: Depictions of Children in German Terrorism Films <\/strong><\/p>\n

This essay discusses the appearance of children in films that negotiate the legacies of West left-wing German and global terrorism. The four films discussed in this essay depict children in Schieflagen<\/em> (askew positions), but use these images to create rather different political messages. In Deutschland im Herbst<\/em> (1978), Die bleierene Zeit<\/em> (1981) and Innere Sicherheit<\/em> (2000), children are melodramatic devices that convey a sense of national tragedy, nostalgia for \u201cinnocence,\u201d and\/or a nationally coded sense of hope. As opposed to representing such an uncanny mixture between melodramatic victim and national symbol, children in the recent film collaboration Deutschland 09<\/em> (2009) are the face of the present. Deutschland 09 depicts children as disconnected from German history, which relieves them of the burden of national representation and, as a result, offers a potential for a less normative and more diverse perspective on Germany\u2019s history and present. While their missing connection to national history leaves them to appear detached and confused, this confusion can be read as a search for different understandings of history and belonging in twenty-first century Germany.<\/p>\n

Thomas Nachreiner | <\/strong>\u201cInspired by real events\u201d\u2014Media (and) Memory in Steven Spielbergs MUNICH (2005)<\/strong><\/p>\n

Steven Spielberg\u2019s 2005 film Munich<\/em> (2005) tells the story of an Israeli counter-terrorist team in the aftermath of the hijacking and massacre at the Olympic Games in 1972. The film spawned broad discussion about its historical accuracy and its political standpoint. While criticism primarily focused on the historiographical representation of the actions depicted, this paper analyzes in two steps the genuinely filmic mode of historical representation of Munich<\/em>. First, the analysis discusses the interplay of two conflicting narrative strategies that negotiate the character development with the political struggle. And second, analysis focuses on the two formal devices at the core of the narrative conflict: The reflexive framing of television in the depiction of the Munich massacre as a traumatic media event and the excessive transformation of its memory in a series of flashbacks. Such elaboration of the narrative and formal strategies reveals the implicit historiographical structures of the film and suggests that the notion of \u2018cultural trauma\u2019 serves as the preferential\u2014but problematic\u2014template in telling the history of terrorism and violence.<\/p>\n

R. Eric Johnson | <\/strong>\u201cJedes Herz\u201d… : The Role of Terror in Hans Weingartner\u2019s Die Fetten Jahre Sind Vorbei<\/em><\/strong><\/p>\n

Hans Weingartner\u2019s Die Fetten Jahre Sind Vorbei<\/em>, also known by its American title The Edukators<\/em>, explores the relationship of a young anti-capitalist activist, Jan, with his own friends, the bourgeousie<\/em> he opposes, and himself. Jan and his friends engage in some relatively benign but disruptive \u201cterrorist\u201d acts. Though the film cannot be said to belong to the horror genre, Die Fetten Jahre Sind Vorbei<\/em> nonetheless employs horror elements and tropes to expose the intrinsically subjective definition of terrorism, and to explore terrorism\u2019s relationship with the \u201cother.\u201d<\/p>\n

Thomas Riegler | \u201cMirroring terror\u201d: The impact of 9\/11 on Hollywood cinema <\/strong><\/p>\n

By drawing upon Siegfried Kracauer\u2019s concept of cinema as a \u201cmirror\u201d of society, this article explores the impact of the \u201cterror years\u201d since 2001 on US cinema. Hollywood was the main cultural apparatus for coping with 9\/11, which had left Americans struggling in the \u201cdesert of the real\u201d (\u017di\u017eek). Visual content simplifies traumatic events like the terrorist attacks for audiences\u2014often expressing them in simple Manichean black and white terms and thereby offering moral guidance, unity, and a sense of destiny. Hollywood\u2019s response to 9\/11 included all these different aspects: It appealed to an \u201cunbroken\u201d spirit, strove to reassert the symbolic coordinates of the prevailing American reality, and mobilised for a response to new challenges. With time passing, Hollywood also incorporated the mounting doubts and dissent associated with this process. As the review of relating movies of the \u201cterror years\u201d demonstrates, the American film industry has examined, processed, and interpreted the meaning of the terrorist attacks in great variety: Ranging from merely atmospheric references to re-enactments, from pro-war propaganda to critical self-inquiry.<\/p>\n

Sebastian Baden | <\/strong>Shooting History: An Interview with Swiss artist Christoph Draeger about the re-enactment of terrorism in his video installation Black September (2002)<\/span><\/p>\n

Skype video-interview at Universit\u00e4t der Bundeswehr (University of the German Army), Munich\/ Germany, August 31^{st<\/sup> 2012.\u00a0This contribution introduces to the video installation Black September (2002) by Swiss artist Christoph Draeger and presents statements of the artist given in an interview in 2012. Draeger collects media representations of disasters in order to reconfigure their inherent sensationalism later in his artworks. The video installation Black September\u00a0 consists of appropriated footage from a documentary movie and video sequences from a re-enactment of the historical events of September 5th 1972, the terrorist attack during the 20th Olympic Games in Munich. Even the artist himself gets involved in the play in his mimikry of a hostage-taker and terrorist. Thus he questions the conditions of the mutual constitution of cultural memory and collective memory. His video installation creates a \u201ccounter image\u201d in reaction to the \u201comnipresent myth of terrorism\u201d, generated by the tragedy of 9\/11 and the media reports in its aftermath. Both terrorist attacks, in Munich 1972 and in New York 2001, mark a turning point in the visual dominance of terrorism. In the case of September 11th, the recurring images of the airplane-attacks and the explosion of the WTC, followed by its collapsing, symbolize the legacy of the \u201cterror of attention\u201d, that would affect every spectator. The video questions the limits of the \u201cdisaster zone\u201d in fictional reality and mass media. The artwork re-creates central scenes of the event in 1972. It brings the terrorist action close to the spectator through emersive images, but technically obtains a critical distance through its mode of reflection upon the catastrophe.The installation Black September stimulates and simulates history and memory simultaneously. It fills the void of a traumatic narrative and tries to recapture the signs that have been unknown yet.<\/p>\n}

About the Contributors<\/strong><\/p>\n

Sebastian Baden <\/strong>was born in 1980 and lives in Bern (CH) and Karlsruhe (D). He is Assistant to Prof. Dr. Beat Wyss in Art History and Media-Theory at the University of Art and Design, Karlsruhe (Staatliche Hochschule f\u00fcr Gestaltung Karlsruhe). Baden studied Painting, Photography and Sculpture at the Academy of Fine Arts Karlsruhe and German Literature at the KIT (Karlsruhe Institut for Technology) from 2001\u20132007. He was an ERASMUS exchange student with University of Arts in Bern (Hochschule der K\u00fcnste)\/ Switzerland 2004-2005. He then became co-Director of Ferenbalm-Gurbr\u00fc-Station-Exhibitions, Karlsruhe, with Lukas Baden. Since 2007, Baden is a Phd candidate at the University of Art and Design Karlsruhe with a research project on Terrorism in the Arts.<\/p>\n

Christoph Draeger<\/strong> is a conceptual artist who has been working on themes of disaster and destruction for over 20 years. His projects take form in installation, video, and photo-based media to explore issues pertaining to catastrophe and media-saturated culture.\u00a0Solo exhibitions include Kunsthaus Rapperswil; Kunsthalle Arbon; OK Centrum Linz (w\/Heidrun Holzfeind); Kunstmuseum Solothurn; Kunsthaus Zurich (w\/Reynold Reynolds); Orchard Gallery, Derry; Roebling Hall, New York; Center of Contemporary Art, Ujazdowskie Castle, Warsaw (PL).\u00a0Group exhibitions include the Tamya Museum in Mexico City, Whitney Museum, Brooklyn Museum, New Museum, MoMA, P.S.1 (all in New York), Van Abbe Museum in Eindhoven, Carrillo Gil Museum in Mexico City, Centre Pompidou in Paris, Paco das Artes in Sao Paulo, Museum der Moderne in Salzburg, KW Kunstwerke Berlin; Biennals: 55th Venice Biennial, Moscou 2007, Liverpool 2002, Havanna 2000, Kwangju 1997.\u00a0www.christophdraeger.com<\/a><\/p>\n

R. Eric Johnson<\/strong> is currently a PhD candidate at the University of Tennessee. He has studied at the University of Stuttgart and the Karlsruhe Institute of Technology. His research focuses on the anachronistic and anatopic Nazi in genre and cult film. Further research interests include horror film and linguistics.<\/p>\n

Thomas Nachreiner<\/strong>, Lecturer and PhD candidate at the University of Erlangen-Nuremberg (Germany), mainly works in the areas of Memory and Media Studies with a special focus on media history and (digital) archiving practices. He currently completes his dissertation project \u2018Digital Memories. Remembering 9\/11 on the World Wide Web.\u2019<\/p>\n

Thomas Riegler<\/strong> studied history and politics at Vienna and Edinburgh Universities. He has published on a wide range of topics, including terrorism and film studies. Riegler is author of \u201cTerrorism: Actors, Structures, Trend\u201d (published 2009 in German) and \u201cIn the Cross Hairs: Palestinian Terrorism in Austria\u201d (published 2010 in German).<\/p>\n

Anja Katharina Seiler<\/strong> is currently a Ph.D Candidate at The University of Tennessee, Knoxville. Her dissertation analyzes the subject of multilingual \u2018language biographies\u2019 in contemporary German literature in the context of German-Balkan encounters. Further fields of interest are transculturalism, performativity and identity in literature, art and advertising.<\/p>\n

Noah Soltau<\/strong> is currently a Ph.D. candidate at the University of Tennessee. His dissertation analyses the politics and spectacularity of Broadway musical renditions of historical German dramas. His research interests also include the aesthetic and political functions of photography and film.<\/p>\n

Maria Stehle<\/strong>, Associate Professor of German at the University of Tennessee, mainly works in the areas of German Cultural and Media Studies. Her monograph, Ghetto Voices in Contemporary German Culture, was published in November 2012. She is currently completing a co-authored study on pop-feminism in twenty-first-century Germany.<\/p>\n<\/div>\n

\n
R\u00e9sum\u00e9s des articles<\/strong><\/p>\n
Anja Katharina Seiler |<\/strong> Aussteigen<\/em> (getting out) Impossible\u2014Montage and Life Scenarios in Andres Veiel\u2019s Film Black Box BRD<\/em><\/strong><\/p>\n
Le documentaire Black Box BRD<\/em> d’Andreas Veiel explore la biographie d’Alfred Herrhausen, victime de la Fraction arm\u00e9e rouge (RAF), en lien avec le portrait de Wolfgang Grams, l’un des terroristes du groupe de la troisi\u00e8me g\u00e9n\u00e9ration. Dans mon expos\u00e9, je montre les proc\u00e9d\u00e9s esth\u00e9tiques du film qui \u00e9tablit des parall\u00e8les et contrastes entre deux sc\u00e9narios de vie par un syst\u00e8me de montage d’images, et donc, comme le sugg\u00e8re Susan Haywards, “cr\u00e9e un troisi\u00e8me sens\u00bb (Hayward 112). J’examine comment le film met en place une esth\u00e9tique de l’Aussteigen (“se retirer”)\u2014le long des corps vivants et visibles – ceux des interview\u00e9s contemporains, et des corps morts et invisibles\u2014ceux de Herrhausen et Grams.<\/p>\n
Noah Soltau | The Aesthetics of Violence and Power in Uli Edel\u2019s Der Baader Meinhof Komplex<\/em><\/strong><\/p>\n
Les relations entre art, politique, et esth\u00e9tique ont, historiquement, toujours \u00e9t\u00e9 troubles et continuent de r\u00e9sister aux sch\u00e9mas interpr\u00e9tatifs. Cet article propose de repenser ces relations \u00e0 travers l’esth\u00e9tique du film d’Ulli Edel: Der Baader Meinhof Komplex<\/em>, dont les images iconiques, repr\u00e9sentatives d’une certaine p\u00e9riode, et st\u00e9r\u00e9otyp\u00e9es en termes d’histoire de la cin\u00e9matographie, permettent de renouveler ce d\u00e9bat. En l’absence de structure narrative conventionnelle, le seul recourt interpr\u00e9tatif possible repose sur une analyse visuelle et structurelle du film. On s\u2019aper\u00e7oit que le catalogage des conventions et genres cin\u00e9matographiques, des images iconiques et des tropes, tend vers le d\u00e9veloppement d\u2019un genre de la terreur et du \u201cterror(isme)\u201d.<\/p>\n
Maria Stehle | Askew Positions\u2014Schieflagen: Depictions of Children in German Terrorism Films<\/strong><\/p>\n
Cet article examine la repr\u00e9sentation des enfants dans des films qui traitent du legs du parti gauchiste de l\u2019Allemagne de l\u2019ouest et du terrorisme international. Les quatre films analys\u00e9s montrent des enfants en postures critiques (Schieflagen), mais utilisent ces images pour transmettre des messages politiques radicalement diff\u00e9rents. Dans Deutschland im Herbst<\/em> (1978), Die Bleierene Zeit<\/em> (1981), et Innere Sicherheit<\/em> (2000), les enfants sont des outils m\u00e9lodramatiques qui communiquent un sens de trag\u00e9die nationale, de nostalgie pour l\u2019\u00a0\u00ab\u00a0innocence\u00a0\u00bb, et\/ou un sentiment d\u2019espoir national. D\u2019autre part, au lieu de repr\u00e9senter un m\u00e9lange inqui\u00e9tant entre victime m\u00e9lodramatique et symbole national, les enfants dans le r\u00e9cent film Deutschland 09<\/em> (2009) se font symboles du pr\u00e9sent. Deutschland 09<\/em> montre des enfants d\u00e9connect\u00e9s de l\u2019histoire allemande, ce qui les soulage du fardeau de la repr\u00e9sentation nationale, et par cons\u00e9quent offre la possibilit\u00e9 d\u2019une perspective moins normative et plus vari\u00e9e sur l\u2019Allemagne des livres d\u2019histoire ainsi que sur l\u2019Allemagne d\u2019aujourd\u2019hui. Bien que leur d\u00e9tachement face \u00e0 l\u2019histoire nationale les repr\u00e9sente comme d\u00e9connect\u00e9s et perdus, cette d\u00e9route peut se lire comme une qu\u00eate interpr\u00e9tative du sens de l\u2019histoire et de l\u2019appartenance \u00e0 l\u2019Allemagne du vingt-et-uni\u00e8me si\u00e8cle.<\/p>\n
Thomas Nachreiner | <\/strong>\u201cInspired by real events\u201d\u2014Media (and) Memory in Steven Spielbergs MUNICH (2005)<\/strong><\/p>\n
Le film de Steven Spielberg, Munich<\/em> (2005), raconte l\u2019histoire d\u2019une cellule antiterroriste isra\u00e9lienne suite \u00e0 la prise d\u2019otages et du massacre qui marqu\u00e8rent les Jeux Olympiques de 1972. Le film suscita de nombreux d\u00e9bats quant \u00e0 son exactitude historique et son positionnement politique. \u00c0 la diff\u00e9rence des critiques qui se concentr\u00e8rent initialement sur la repr\u00e9sentation historiographique des actions d\u00e9peintes, cet article analyse en deux \u00e9tapes le mode filmique de la repr\u00e9sentation historique de Munich. En premier lieu, il s\u2019agit d\u2019analyser l\u2019interaction de deux strat\u00e9gies narratives concurrentes qui confrontent le d\u00e9veloppement des personnages avec le combat politique. Ensuite l\u2019analyse se concentre sur deux proc\u00e9d\u00e9s formels au c\u0153ur de ce conflit narratif : la mise en sc\u00e8ne r\u00e9flexive de la t\u00e9l\u00e9vision dans la repr\u00e9sentation du massacre de Munich en tant que qu\u2019\u00e9v\u00e9nement m\u00e9diatique traumatique, et la transformation excessive de son souvenir \u00e0 travers une s\u00e9rie de flashbacks. Une telle construction des strat\u00e9gies narrative et formelle r\u00e9v\u00e8le les structures historiographiques implicites du film et sugg\u00e8re que la notion de \u00ab traumatisme culturel \u00bb nourrit la trame privil\u00e9gi\u00e9e\u2014mais probl\u00e9matique\u2014du r\u00e9cit de l\u2019histoire du terrorisme et de la violence.<\/p>\n
R. Eric Johnson | <\/strong>\u201cJedes Herz\u201d… : The Role of Terror in Hans Weingartner\u2019s Die Fetten Jahre Sind Vorbei<\/em><\/strong><\/p>\n
Die Fetten Jahre Sind Vorbei<\/em> de Hans Weingartner, aussi connu sous le titre am\u00e9ricain de The Edukators<\/em>, met en sc\u00e8ne le rapport d\u2019un jeune activiste anticapitaliste, Jan, avec la bourgeoisie \u00e0 laquelle il s\u2019oppose, avec ses propres amis, et avec lui-m\u00eame. Jan et ses amis commettent des actes terroristes relativement b\u00e9nins mais perturbateurs. Bien que le film ne puisse \u00eatre d\u00e9finit comme appartenant au cin\u00e9ma d\u2019\u00ab\u00a0horreur\u00a0\u00bb, Die Fetten Jahre Sind Vorbei<\/em> utilise n\u00e9anmoins certains \u00e9l\u00e9ments et tropes de ce genre afin de d\u00e9voiler le caract\u00e8re intrins\u00e8quement subjectif du terrorisme, en plus d\u2019examiner le terrorisme \u00e0 travers la question du rapport \u00e0 l\u2019alt\u00e9rit\u00e9.<\/p>\n
Thomas Riegler | \u201cMirroring terror\u201d: The impact of 9\/11 on Hollywood cinema<\/strong><\/p>\n
Prenant appui sur le concept de cin\u00e9ma comme \u201cmiroir\u201d de la soci\u00e9t\u00e9 chez Siefried Kracauer, cet article explore l\u2019impact des \u201cann\u00e9es de la terreur\u201d sur le cin\u00e9ma am\u00e9ricain depuis 2001. Hollywood fut un outil culturel crucial dans la gestion du traumatisme du 11 septembre, traumatisme qui a sembl\u00e9 laisser les Am\u00e9ricains se d\u00e9battre dans \u201cle d\u00e9sert du r\u00e9el\u201d (\u017di\u017eek). Le contenu visuel des films met \u00e0 la port\u00e9e du public des \u00e9v\u00e9nements traumatiques comme les attaques terroristes (souvent en termes manich\u00e9ens)\u00a0; ce faisant il cr\u00e9e une orientation morale, empreint d\u2019un sentiment d\u2019unit\u00e9 et de destin\u00e9e. La r\u00e9ponse d\u2019Hollywood au 11 septembre s\u2019est faite sous diff\u00e9rents aspects\u00a0: celui d\u2019un appel \u00e0 l\u2019esprit national, celui d\u2019une r\u00e9affirmation des points cardinaux symboliques de l\u2019identit\u00e9 am\u00e9ricaine dominante, et celui de l\u2019instrumentalisation du film en vertus de l\u2019id\u00e9e de rassemblement propre \u00e0 r\u00e9agir \u00e0 de nouveaux enjeux. Au fil du temps, Hollywood a \u00e9galement incorpor\u00e9 l\u2019accroissement des doutes et des oppositions qui ont accompagn\u00e9 ce processus. Comme en t\u00e9moignent les critiques des films des \u201cann\u00e9es de la terreur\u201d, l\u2019industrie am\u00e9ricaine de la cin\u00e9matographie a examin\u00e9, dig\u00e9r\u00e9, et interpr\u00e9t\u00e9 le sens des attaques terroristes sous diverses formes, allant de simples r\u00e9f\u00e9rences atmosph\u00e9riques \u00e0 la reconstitution historique, en passant par la propagande de guerre et la critique existentialiste.<\/p>\n
Sebastian Baden | <\/strong>Shooting History: An Interview with Swiss artist Christoph Draeger about the re-enactment of terrorism in his video installation Black September (2002)<\/strong><\/p>\n
On pr\u00e9sente ici l\u2019installation cin\u00e9matographique Black September<\/em> (2002) de l\u2019artiste suisse Christoph Draeger, accompagn\u00e9e des commentaires de l\u2019auteur recueillis lors d\u2019un entretien donn\u00e9 en 2012. Draeger rassemble diff\u00e9rentes repr\u00e9sentations m\u00e9diatiques de catastrophes dans le but de reconfigurer leur sensassionalisme dans ses oeuvres. L\u2019installation Black September<\/em> se compose de s\u00e9quences d\u2019un film documentaire et de vid\u00e9os enregistr\u00e9es lors d\u2019une reconstitution historique des \u00e9v\u00e9nements du 5 septembre 1972, l\u2019attaque terroriste des vingti\u00e8mes jeux olympiques \u00e0 Munich. L\u2019artiste lui-m\u00eame participe \u00e0 la pi\u00e8ce et interpr\u00e8te le r\u00f4le d\u2019un preneur d\u2019otages. Il interroge ainsi les conditions de la formation simultan\u00e9e d\u2019une m\u00e9moire culturelle et d\u2019une m\u00e9moire collective. Son installation propose une \u00ab\u00a0image \u00e0 rebours\u00a0\u00bb en r\u00e9action au \u00ab\u00a0mythe omnipr\u00e9sent du terrorisme\u00a0\u00bb g\u00e9n\u00e9r\u00e9 par la trag\u00e9die du 11 septembre ses repr\u00e9sentations m\u00e9diatiques. Les deux attaques terroristes, de Munich en 1972 et de New York en 2001, symbolisent une victoire m\u00e9diatique pour le terrorisme. Dans le cas du 11 septembre, c\u2019est \u00e0 travers la r\u00e9p\u00e9tition des images t\u00e9moignant des attaques a\u00e9riennes et de l\u2019effondrement du World Trade Center que le legs de la \u00ab\u00a0terreur m\u00e9diatique\u00a0\u00bb s\u2019installe. La vid\u00e9o interroge les limites de \u00ab\u00a0la zone de catastrophe\u00a0\u00bb dans la r\u00e9alit\u00e9 fictionnelle et les m\u00e9dias de masse. L\u2019oeuvre recr\u00e9e des sc\u00e8nes centrales des \u00e9v\u00e9nements de 1972. Les images entra\u00eenent les spectateurs au coeur de l\u2019action terroriste, alors qu\u2019en parall\u00e8le la technicit\u00e9 du mode de r\u00e9flexion sur la catastrophe cr\u00e9e une distance critique. L\u2019installation Black September<\/em> stimule et simule \u00e0 la fois l\u2019histoire et la m\u00e9moire. Elle remplit les blancs d\u2019une narration traumatique et tente de capturer des signes encore inconnus.<\/p>\n
\u00c0 propos\u00a0des contributeurs<\/strong><\/p>\n
Sebastian Baden<\/strong> est n\u00e9 en 1980 \u00e0 Berne (CH) et r\u00e9side actuellement entre sa ville natale et Karlsruhe (G). Il est l\u2019assistant du professeur Beat Wyss qui enseigne l\u2019histoire de l\u2019art et les th\u00e9ories des m\u00e9dias \u00e0 l\u2019universit\u00e9 d\u2019art et de design de Karlsruhe (Staatliche Hochschule f\u00fcr Gestaltung Karlsruhe). Sebastian Baden a \u00e9tudi\u00e9 la peinture, la photographie, et la sculpture \u00e0 l\u2019acad\u00e9mie des beaux arts de Karlsruhe et la litt\u00e9rature allemande \u00e0 l\u2019institut de technologies de Karlsruhe (KIT) entre 2001 et 2007. Entre 2004 et 2005 il a particip\u00e9 au programme d\u2019\u00e9change ERASMUS avec l\u2019universit\u00e9 de Berne (Hochschule der K\u00fcnste) en Suisse. Il est ensuite devenu co-directeur des expositions \u00e0 la gallerie Ferenbalm-Gurbr\u00fc-Station \u00e0 Karlsruhe, avec Lukas Baden. Depuis 2007 Baden est inscrit en doctorat \u00e0 l\u2019universit\u00e9 d\u2019art et de design de Karlsruhe. Son projet de recherche porte sur le terrorisme dans les arts.<\/p>\n
Christoph Draeger<\/strong> est un artiste conceptuel qui travaille depuis plus de vingt ans sur les th\u00e8mes du d\u00e9sastre et de la destruction. Ses projets prennent la forme d’installations, de vid\u00e9os, et de traitements photographiques afin d’explorer l’existence de la catastrophe dans une culture de saturation m\u00e9diatique. Ses expositions solo ont pris place aux\u00a0Kunsthaus Rapperswil; Kunsthalle Arbon; OK Centrum Linz (avec Heidrun Holzfeind); Kunstmuseum Solothurn; Kunsthaus Zurich (w\/Reynold Reynolds); Orchard Gallery, Derry; Roebling Hall, New York; Center of Contemporary Art, Ujazdowskie Castle, Warsaw (PL). Il a \u00e9galement pris part \u00e0 des expositions collectives aux\u00a0Tamya Museum \u00e0 Mexico, Whitney Museum, Brooklyn Museum, New Museum, MoMA, P.S.1 (tous \u00e0 New York), Van Abbe Museum \u00e0 Eindhoven, Carrillo Gil Museum \u00e0 Mexico, Centre Pompidou \u00e0 Paris, Paco das Artes \u00e0 Sao Paulo, Museum der Moderne \u00e0 Salzburg, KW Kunstwerke Berlin, ainsi qu’aux Biennales suivantes: 55th Venice Biennial, Moscou 2007, Liverpool 2002, Havanna 2000, Kwangju 1997.\u00a0www.christophdraeger.com<\/a><\/p>\n
R. Eric Johnson<\/strong> est actuellement etudiant a l\u2019Universit\u00e9 de Tennessee. Il a \u00e9tudi\u00e9 \u00e1 l\u2019Universit\u00e9 de Stuttgart et au Karlsruhe Institute of Technology. Sa recherche se concentre sur le Nazi anachronistique et anatopique dans les films \u201ccultes\u201d. Ses autres int\u00e9r\u00eats de recherche comprennent les films d\u2019horreur et la linguistique.<\/p>\n
Thomas Nachreiner<\/strong> est ma\u00eetre de conf\u00e9rence et doctorant \u00e0 l\u2019universit\u00e9 de Erlangen-Nuremberg (Allemagne). Il travaille essentiellement sur les questions de la m\u00e9moire et des media, avec un int\u00e9r\u00eat particulier pour l\u2019histoire des media et les pratiques li\u00e9es \u00e0 l\u2019archivage (num\u00e9rique), et termine actuellement l\u2019\u00e9criture de sa th\u00e8se de doctorat : \u00ab M\u00e9moires num\u00e9riques. Se souvenir du 9\/11 \u00e0 travers le World Wide Web \u00bb.<\/p>\n
Thomas Riegler<\/strong> a \u00e9tudi\u00e9 l\u2019histoire et la polique aux universit\u00e9s de Vienne et d\u2019Edimburg. Il a publi\u00e9 sur une large selection de sujets, et notamment sur le terrorisme et les \u00e9tudes cin\u00e9matographiques. Thomas Riegler est l\u2019auteur de \u201cTerrorism: Actors, Structures, Trend\u201d (\u201cTerrorisme: acteurs, structures\u201d, publi\u00e9 en allemand en 2009) et \u201cIn the Cross Hairs: Palestinian Terrorism in Austria\u201d (\u201cEn ligne de mire: terrorisme palestinien en Autriche\u201d, publi\u00e9 en allemand en 2010).<\/p>\n
Anja Katharina Seiler<\/strong> poursuit actuellement son doctorat \u00e0 l’Universit\u00e9 du Tennessee \u00e0 Knoxville. Ses recherches portent sur la question du plurilingue \u2018biographie langagi\u00e8re\u2019 dans la litt\u00e9rature allemande contemporaine, dans le contexte des rencontres entre l’Allemagne et les pays des Balkans. Ses champs d’int\u00e9r\u00eat comprennent \u00e9galement les recherches transculturelles, la performativit\u00e9 et l’identit\u00e9 dans la litt\u00e9rature, l’art et la publicit\u00e9.<\/p>\n
Noah Soltau<\/strong> est \u00e9tudiant en PhD \u00e0 l’universit\u00e9 du Tennessee. Sa th\u00e8se porte sur les aspects politiques et sp\u00e9culaires des com\u00e9dies musicales de Broadway mettant en sc\u00e8ne des pi\u00e8ces du th\u00e9\u00e2tre historique Allemand. Ses recherches s’int\u00e9ressent \u00e9galement aux enjeux esth\u00e9tiques et politiques de la photographie et du cin\u00e9ma.<\/p>\n
Maria Stehle<\/strong> est ma\u00eetre de conf\u00e9rence en allemand \u00e0 l\u2019universit\u00e9 du Tennessee. Ses travaux de recherche portent principalement sur la culture allemande et les \u00e9tudes m\u00e9diatiques. Son monographe, Ghetto Voices in Contemporary German Culture, a \u00e9t\u00e9 publi\u00e9 en novembre 2012. Elle termine actuellement une \u00e9tude co-\u00e9crite sur le f\u00e9minisme pop dans l\u2019Allemagne du vingt-et-uni\u00e8me si\u00e8cle.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
IMAGINATIONS 5-2 |\u00a0Terrorism and its Legacy in German Visual Culture |\u00a0Guest Editor Maria Stehle |\u00a0Table of Contents Introduction\u00a0|\u00a0Noah Soltau and Maria Stehle Aussteigen (getting out) Impossible\u2014Montage and Life Scenarios in Andres Veiel\u2019s Film Black Box BRD\u00a0|\u00a0Anja Katharina Seiler The Aesthetics of Violence and Power in Uli Edel\u2019s Der Baader Meinhof Komplex\u00a0|\u00a0Noah Soltau Askew Positions\u2014Schieflagen: Depictions […]<\/p>\n","protected":false},"author":4062,"featured_media":5769,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[108,4],"tags":[],"class_list":["post-5751","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-terrorism-in-german-visual-culture-5-2","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2014\/10\/Imaginations5.2.Cover_.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-1uL","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/5751","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5751"}],"version-history":[{"count":41,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/5751\/revisions"}],"predecessor-version":[{"id":8653,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/5751\/revisions\/8653"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/5769"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5751"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5751"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5751"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}