The Diasporic Cinemas of Ingrid Bergman

Author(s):  
Scott MacKenzie

This chapter examines the notion of Nordic otherness in the film work of Ingrid Bergman. Otherness here refers to the construction of Bergman as an outsider in films in Hollywood, Italy and, at the end of her career, back in Swedish cinema again. This difference can be understood as one that seemed both strange yet compelling, and is part of a long history of Hollywood casting Europeans as compelling others. From her works in Hollywood (1939–49) to her Italian period with Roberto Rossellini (1950–6), to her last film and her return to Swedish film in Ingmar Bergman’s Autumn Sonata (Höstsonaten, Sweden/West Germany, 1978), the present study characterizes Bergman’s body of work through interlinked themes: the role as a Swedish/European other; the working woman (i.e. a woman in the workforce), both in terms of the promotion of her career and many of the roles themselves that are subject to forms of constraint (from marriage to martyrdom). The chapter traces her transnational career and reclaims Bergman as an actress with a great deal of agency over her career.

2019 ◽  
Vol 50 (1) ◽  
pp. 1-6
Author(s):  
Katja Corcoran ◽  
Michael Häfner ◽  
Mathias Kauff ◽  
Stefan Stürmer

Abstract. In this article, we reflect on 50 years of the journal Social Psychology. We interviewed colleagues who have witnessed the history of the journal. Based on these interviews, we identified three crucial periods in Social Psychology’s history, that are (a) the early development and further professionalization of the journal, (b) the reunification of East and West Germany, and (c) the internationalization of the journal and its transformation from the Zeitschrift für Sozialpsychologie to Social Psychology. We end our reflection with a discussion of changes that occurred during these periods and their implication for the future of our field.


Author(s):  
Frank Biess

German Angst analyzes the relationship of fear and democracy in postwar West Germany. While fear has historically been associated with authoritarian regimes, the book highlights the role of fear and anxiety in a democratizing society: these emotions undermined democracy and stabilized it at the same time. By taking seriously postwar Germans’ uncertainties about the future, the book challenges dominant linear and teleological narratives of postwar West German “success.” It highlights the prospective function of memories of war and defeat, of National Socialism and the Holocaust. Fears and anxieties derived from memories of a catastrophic past that postwar Germans projected into the future. Based on case studies from the 1940s to the present, the book provides a new interpretive synthesis of the Federal Republic. It tells the history of the Federal Republic as a series of recurring crises, in which specific fears and anxieties emerged, served a variety of political functions, and then again abated. Drawing on recent interdisciplinary insights of emotion studies, the book transcends the dichotomy of “reason” and “emotion.” Fear and anxiety were not exclusively irrational and dysfunctional but served important roles in postwar democracy. These emotions sensitized postwar Germans to the dangers of an authoritarian transformation, and they also served as the emotional engine of the environmental and peace movements. The book also provides an original analysis of the emotional basis of right-wing populism in Germany today, and it explores the possibilities of a democratic politics of emotion.


2017 ◽  
pp. 263-276
Author(s):  
Maciej Walkowiak

The paper is mainly concerned with Gottfried Benn’s complex attitude to the state and history. By means of introductory prefigurations, such as existential tensions related to the conflict between Protestant ethics and modern aesthetics, there emerges Benn’s difficult and complex relation to the state as such, seen as a product of history, and to its particular examples, starting from the Second Reich until the initial phase of West Germany. Friedrich Nietzsche’s philosophy, and in particular the philosophy of art, is of great importance in this context. This issue is discussed using Benn’s key works such as Roman des Phänotyp or Doppelleben. Benn’s literary and life self-creations played a vital role in his relations with the political reality and the state, which is discussed at the end of this analysis. His ambivalent relation to early West Germany has a strong biographical basis, i.e. his involvement with the history of the Nazi Germany on the one hand, and on the other – the period of his literary fame at the end of his life.


2011 ◽  
pp. 73-91
Author(s):  
Piotr Madajczyk

The history of the Polish Bishops’ Letter of Reconciliation to the German bishops, sent in the autumn of 1965, that is, in a very inopportune political climate, is now relatively well known and researched. What contributed to its being widespread, was the perception of it as a pre-cursor of the Polish-German reconciliation, an initiative which, while not capable of having a real impact on Poland and West Germany in the 60s, pointed to alternative methods by which it could be carried out and distanced itself from retaining hostility as a basis for Polish-German relations and using the stereotype of a threat on the part of Germany in Polish domestic politics. The circumstances in which the Letter had been brought into being could be studied thanks to the opening of Polish archives after the fall of Communism. The article shows how the Letter was received by West German diplomacy, in terms, most of all, of an appraisal of the chances and opportunities in the international arena which could follow from such a reception. What was important from Bonn’s point of view was the setting of the controversies around the Letter in Poland in a wider context, namely, one of balancing the relationships between determinants rooted in domestic politics, the policy of Moscow and the East Block and that of the Vatican.


2017 ◽  
Vol 10 (1–2) ◽  
pp. 57
Author(s):  
Benno Gammerl

This opinion piece enquires into the history of male homosexuality in West Germany since the 1950s and focuses on the transition from the homophile bar to the gay disco as a prototypical meeting place for same-sex desiring men. Which emotional shifts did this spatial variation entail? Based on oral history interviews and gay magazines, the analysis explores intricate changes in queer everyday life beyond the all too simple supposition that closeted shame was supplanted by openly gay pride. In addition, the study shows on a methodological level that the allegedly antagonistic approaches in emotion research – constructionism, praxeology, affect-theory and phenomenology – can actually be fruitfully combined with each other, especially when it comes to analysing the interplay between spaces and feelings.


German Angst ◽  
2020 ◽  
pp. 290-330
Author(s):  
Frank Biess

This chapter analyzes the culmination of the history of fear in postwar West Germany during the 1980s. A culture of emotional expressiveness now merged with two new external threats: environmental disaster and a nuclear war. Apocalyptic fears served as the emotional driving forces of two new social movements: the environmental and the peace movements. The environmental movement did not emerge only as a result of new environmental threats but also derived from a changed emotional culture that increased individuals’ susceptibility to environmental threats. The chapter analyzes the emerging perception of a global ecological crisis, the anti-nuclear movement, and the debate over the dying forest in the 1980s. It then explains the emergence of the largest protest movement in the history of West Germany—the peace movement of the 1980s—as a result of a new culture of emotional expressiveness. Peace activists enacted this new emotional culture by publicly displaying and performing fear. The emergence of a popular Holocaust memory also enabled apocalyptic fears of, as it was called, a “nuclear Holocaust.”


German Angst ◽  
2020 ◽  
pp. 66-94
Author(s):  
Frank Biess

This chapter analyzes a little-known episode of moral panic during the 1950s: the alleged abduction of young German men into the French Foreign Legion. Fears and fantasies of the Foreign Legion reflected a widespread sense of popular humiliation and limited sovereignty vis-à-vis the Western allies during that decade. Fears of the abduction of young Germans into the Legion reflected deep-seated concerns regarding the safety and integrity of male youth, which formed the core constituency of postwar reconstruction. The alleged “recruiter” as “folk devil” represented the absolute opposite of normative male citizenship. Cultural representations cast the recruiter as effeminate, foreign, and potentially homosexual, as well as displaying some of the stereotypical antisemitic features of the Jewish “other.” By the late 1950s, the growing recognition that young men entered the Legion out of their own volition shifted public attention from fear of recruiters to concerns about the fragility of male youth in postwar society. West German anxieties regarding the Legion began to focus on the inner resilience and resistance of young German men rather than the external threat of seduction by French-paid recruiters. This shift from externally to internally generated fears and anxieties anticipated a general shift in the history of fear and anxiety in West Germany from the late 1950s onward.


1996 ◽  
Vol 5 (3) ◽  
pp. 401-426 ◽  
Author(s):  
Frederick L. Mckitrick

On 10 July 1950, at the celebrations marking the fiftieth anniversary of the founding of the Wiesbaden Chamber of Artisans (Handwerkskammer), its president Karl Schöppler announced: ‘Today industry is in no way the enemy of Handwerk. Handwerk is not the enemy of industry.…’ These words, which accurately reflected the predominant point of view of the post-war chamber membership, and certainly of its politically influential leadership, marked a new era in the social, economic and political history of German artisans and, it is not too much to say, in the history of class relations in (West) Germany in general. Schöppler's immediate frame of reference was the long-standing and extremely consequential antipathy on the part of artisans towards industrial capitalism, an antipathy of which his listeners were well aware.


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