Photography and Twentieth-Century German History - Volume 48 - Special Issue 3 - September 2015
- Submitting institution
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University of Nottingham, The
- Unit of assessment
- 28 - History
- Output identifier
- 4996352
- Type
- B - Edited book
- DOI
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-
- Publisher
- Cambridge University Press
- ISBN
- 0000000000
- Open access status
- -
- Month of publication
- September
- Year of publication
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This special issue draws on and develops Umbach's, and her co-editor Harvey’s, research on photographs as primary sources in their own right, and on the connections between seemingly purely private and overtly public or political concerns of Germans living in the twentieth century. Umbach and her co-editor worked with authors who specialise in German-Jewish photography, private and workplace photography in Nazi Germany, and photography in post-1945 Germany, including the GDR, to produce this volume. Umbach and Harvey had intellectual oversight, recruiting contributors and closely curating essays. They co-authored an ‘Introduction: Photography and Twentieth-Century German History’ (8,360 words). This explores the theoretical underpinnings of an approach that enables a reading of photographs as the material of ideological fantasies, which individuals then applied and adapted to different personal, social, and political circumstances and agendas. It also argues that photographs can be read as ‘pre-emptive acts of commemoration’, in which a vast army of non-professional photographers transformed lived experiences into archives designed to be viewed and interpreted by future audiences. Umbach contributed her own article, ‘Selfhood, Place, and Ideology in German Photo Albums, 1933–1945’ (12,960 words). This draws on her research on a body of professional and private photographs from the Nazi era in order to suggest that the mass production and consumption of photography turned the valorisation of ‘authentic experience’ in Nazi ideology into a concrete reality for many Germans, thus irrevocably re-defining the boundaries between the political and private, with consequences that outlasted 1945.
- Author contribution statement
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- Non-English
- No
- English abstract
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