7. Historical Museum Meets Docu-Drama: The Recipient’s Experiential Involvement in the Second World War

Chapters in this book

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Acknowledgments ix
5. Introduction 1
6. 1. The “Museal Gaze” and “Civic Seeing”: City, Film, and Museum in Wim Wenders’s Der Himmel über Berlin 21
7. 2. Refracted Memory: Museums, Film, and Visual Culture in Urban Space 42
8. 3. Nikolaus Geyrhalter’s Unser täglich Brot: Preservation, the Food Industry, and the Interrogation of Visual Evidence 63
9. 4. The Concealed Curator: Constructed Authenticity in Uli Edel’s Der Baader-Meinhof Komplex 81
10. 5. Remembering and Historicizing Socialism: The Private and Amateur Musealization of East Germany’s Everyday Life 100
11. 6. Object Lessons: Visuality and Tactility in Museums of the Socialist Everyday 123
12. 7. Historical Museum Meets Docu-Drama: The Recipient’s Experiential Involvement in the Second World War 138
13. 8. Framing the Past: Visual Musealizations of the Nazi Past in Harlan – Im Schatten von Jud Süß and Jud Süß – Film ohne Gewissen 158
14. 9. Moving Statues: Arthur Grimm, the Entartete Kunst Exhibition, and Installation Photography as Standfotografie 187
15. 10. “In a Hundred Years of Cinema …”: History and Musealization in Harun Farocki’s Arbeiter verlassen die Fabrik in elf Jahrzehnten 209
16. 11. Sex on Display: Sexual Science and the Exhibition PopSex! 227
17. 12. Spaces in Motion and Cinematic Experiences: The Permanent Exhibition Film of the Deutsche Kinemathek – Museum für Film und Fernsehen 248
18. Bibliography 261
19. Contributors 287
20. Index 289