Distribution et équipe technique

Germany's Cold War Cultures 1949-1989: Re-thinking the Art History of a Politically Divided Country

2009
1h

MA NOTE

Germany's Cold War Cultures 1949-1989: Re-thinking the Art History of a Politically Divided Country (2009)

In tracing the political, cultural, and theoretical discourses in both German art worlds, Germanys Cold War Cultures 1945-1989, shows the impact of contemporary forms, new media and exhibitions that helped to reestablish German art throughout the postwar era. We join the curators, Stephanie Barron and Sabine Eckmann, on a detailed tour of this critical re-consideration of Germanys post-WWII art.

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Documentary

Ajouter une intrigue dans votre langueDuring the Cold War (1949-89) in both Germanys, the creation of art, its reception, and its theorization were closely linked to the respective political systems: the Western liberal democrac... Tout lireDuring the Cold War (1949-89) in both Germanys, the creation of art, its reception, and its theorization were closely linked to the respective political systems: the Western liberal democracy of the Federal Republic of German (FRG) and the Eastern communist dictatorship of the Ge... Tout lireDuring the Cold War (1949-89) in both Germanys, the creation of art, its reception, and its theorization were closely linked to the respective political systems: the Western liberal democracy of the Federal Republic of German (FRG) and the Eastern communist dictatorship of the German Democratic Republic (GDR). In reaction against the legacy of Nazism, both Germanys re... Tout lire

Réalisation
- Michael Blackwood
Casting principal
- Stephanie Barron
- Sabine Eckmann

Voir les informations de production sur IMDbPro

MA NOTE

Réalisation
- Michael Blackwood
Casting principal
- Stephanie Barron
- Sabine Eckmann

Voir les informations de production sur IMDbPro

Vidéos1

Trailer 1:47

Germany's Cold War Cultures 1949-1989 trailer

Photos1

Rôles principaux2

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Stephanie Barron

Self

Sabine Eckmann

Self

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Sabine Eckmann: In these years photography was not yet allowed so artists and other Germans were not permitted to document their destroyed cities, in this case Dresden, and so we have this kind of interesting mix of a documentary approach which I think unintentionally becomes very emotional and expressive because the artist had to deal with the leftovers of his home country and in the city in which he finds himself.

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