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November 23, 2009
Monday, 3:00
314 Royce Hall
Lecture
Janet Ward
, Associate Professor of History, University of Nevada, Las Vegas
Berlin Borders, New World-City Orders

In terms of urban form, the border condition has its advantages precisely in its instabilities, dangers, and ugliness. The regained German capital’s lingering spatial instabilities and discontinuous histories have lent it an ultimately destabilizing ethos. The New Berlin’s official planning strategy of telos-oriented Critical Reconstruction has been to downplay precisely these legacies. We may well wonder how long Berlin’s border condition will be able to continue in the face of an official return to the “European City”-credo as the architectural expression of a political normalization for the reunified nation. Nonetheless, the re-formed yet recalcitrant Berlin still displays a “frontier anxiety”—a sense of its own fragile exceptionalism even as its Wall-era has been paved over; an attempted cover-up of the city’s more significant heritage of repeated brokenness. As long as the city’s marketing efforts remain focused more on an effect-ridden superstructure rather than on changes in the actual urban base, Berlin’s border condition remains clearly, and obstinately, marked. 

February 22, 2010
Monday, 4:00
306 Royce Hall
Lecture
Anke Pinkert, Associate Professor of Germanic Languages and Literatures,
University of Illinois at Urbana-Champaign
How to Create Change Twenty Years After the Fall of the Wall: Film,
Autobiography, Pedagogy


In this paper I ask what we can learn from the fall of the Berlin Wall and how we can integrate these lessons into our daily lives as scholars, teachers, and citizens. Taking my own life story as a starting point, I  examine how films in the 1990s represent and shape the effects of radical historical change on people's lives. I pay particular attention to various styles, genres, and themes in order to show how the post-communist films of the 1990s became part of a larger postmodern moment in which the possibility for utopia, critique, and agency disappeared. I then turn to recent cinematic trends that have developed strategies to counteract the preoccupation with historical stasis in the  formally ambitious films of the 1990s. I conclude with an example from  my own teaching of film to show how I make the historical changes of  1989 Germany relevant to my American students today. 

 

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