By Anne Fuchs (auth.)
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Additional resources for After the Dresden Bombing: Pathways of Memory, 1945 to the Present
This further enhances the sense of a cosmic apparition. Again we need the help of the expert to decipher the historical reality hidden behind this photograph: the picture is a still from a film shot by the Visual Mediations 29 Figure 1 Traces from German anti-aircraft gun fire (flak) vividly depicted in a vertical aerial photograph taken over the Port Militaire, Brest, France, during a night raid, possibly that of 4/5 January 1941. Courtesy of the Imperial War Museum (image C 1856) RAF film-production unit during the second heavy attack on Dresden on the night of the 13–14 February 1945.
Undoubtedly subjective, my selection aims to trace the persistence of memory through a cultural symbolism that has been annotated, elaborated, revised and refuted through diverse media and genres. While genres and media thus play a prominent role in this study, the book is ultimately motivated by something else: it was above all the vast discrepancy between historical arguments, on the one hand, and the experience of the excess of the Real as a signature of twentiethcentury history, on the other, that has prompted me to write this study.
They concentrate the hopes and fears of millions and provide an instant and effortless connection to some deeply meaningful moment in history. 4 It is precisely the concealment of media-specific conventions, the obliteration of cultural frames of interpretation and the repression of Visual Mediations 23 historically specific contexts that make these icons such powerful carriers of a global cultural memory. Before analysing specificities in the iconisation of the destruction of Dresden, I need to briefly touch on other representational practices that shaped global perceptions of the end of the war from 1945 onwards.
After the Dresden Bombing: Pathways of Memory, 1945 to the Present by Anne Fuchs (auth.)