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Spectacle

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Edited By Jennifer Creech and Thomas O. Haakenson

How does the visual nature of spectacle inform the citizenry, destabilize the political, challenge aesthetic convention and celebrate cultural creativity? What are the limits – aesthetic, political, social, cultural, economic – of spectacle? How do we explain the inherently exclusionary, revolutionary, dehumanizing and utopian elements of spectacle?
In this book, authors from the fields of cultural studies, cinema studies, history and art history examine the concept of spectacle in the German context across various media forms, historical periods and institutional divides. Drawing on theoretical models of spectacle by Guy Debord, Max Horkheimer and Theodor Adorno, Jonathan Crary and Michel Foucault, the contributors to this volume suggest that a decidedly German concept of spectacle can be gleaned from critical interventions into exhibitions, architectural milestones, audiovisual materials and cinematic and photographic images emerging out of German culture from the Baroque to the contemporary.
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List of Figures

Extract

| vii →

Figures

Jacob M. Baum – Opening a Window to the Devil: Religious Ritual as Baroque Spectacle in Early Modern Germany

1.1 Mass of St Gregory by Wolf Traut (1510).

1.2 Medieval altar. Photo courtesy of author.

1.3 Medieval altar. Photo courtesy of author.

Elizabeth Otto – Bauhaus Spectacles, Bauhaus Specters

2.1 Photographer unknown, Untitled (Seated man in Marcel Breuer armchair later titled T1 1a), n.d., c. 1923. Gelatin silver print. Collection of the Getty Research Institute.

2.2 Albert von Schrenck-Notzig, The Medium Eva C. with a Materialization on her Head and a Luminous Apparition Between her Hands, 1912. Gelatin silver print. Collection of the Institut für Grenzgebiete der Psychologie und Psychohygiene, Freiburg im Breisgau.

2.3 Paul Klee, Ghost of a Genius [Gespenst eines Genies], 1922. Oil transfer and watercolor on paper mounted on card. Collection National Galleries Scotland.

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