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Visualisierungen des Umbruchs

Strategien und Semantiken von Bildern zum Ende der kommunistischen Herrschaft im östlichen Europa

Edited By Ana Karaminova and Martin Jung

Welche Schwierigkeiten und Möglichkeiten der visuellen Darstellung verbinden sich mit dem Ende der kommunistischen Herrschaft im östlichen Europa? Welche Bilder aus der Umbruchzeit wurden wann und wie zu Ikonen? Wie werden Bilder aus der Umbruchzeit mit künstlerischen Bearbeitungen danach verknüpft? Ausgehend von diesen Leitfragen behandeln die Beiträge dieses Bandes verschiedene Länder und untersuchen aus unterschiedlichen wissenschaftlichen Perspektiven verschiedenartige Medien(formate), die von Filmen, Musikclips und Presse-Bildern bis zu Kunstwerken und musealen Darstellungen reichen. Damit zeigen die Beiträge die vielfältigen Anknüpfungspunkte des Themas auf und machen den Facettenreichtum der Frage nach «Visualisierungen des Umbruchs» deutlich.

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Televised image in/as history. Videograms of a Revolution and the visibility of the 1989 changes. Katarzyna Ruchel-Stockmans

Extract

47 Televised image in/as history. Videograms of a Revolution and the visibility of the 1989 changes Katarzyna Ruchel-Stockmans Harun Farocki and Andrei Ujica's Videograms of a Revolution (1992) is a seam- lessly woven compilation of found footage, both professional television reels and amateur images, which make up the filmic story of a singular historical event: the so-called 1989 Revolution in Romania. At first sight, this compilation film is an artistic examination of a televised event; an event which is deconstructed by means of multiple known and unknown, official and unofficial, professional and amateur video recordings. What Farocki and Ujica’s film seems to undertake, in the first place, is an idiosyncratic disentanglement of a double – historical and mediamatic – riddle surrounding the “stolen revolution”. By focusing on an event that seems inextricably intertwined with its (tele)visual representation, they promise to go beyond the surface of the sometimes false appearances. In this ar- ticle it will be demonstrated to what extent Videograms first creates and then dis- appoints such expectations, proposing instead a reflection on a possible new ap- proach to the visualisation of the history of – and after – 1989. By the same to- ken, the film is a hallmark of what appears to be a major transformation of the conditions in which we experience historical events. The spontaneously emerged crowd of protesters and the self-appointed leaders and spokes(wo)men of the na- tion all perform the revolution in front of the omnipresent cameras. Their 'per- formance' appears therefore as an...

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