"This volume focuses on the contribution of refugees from Nazism to the Arts in Britain. The essays examine the much neglected theme of art in internment and address the spheres of photography, political satire, sculpture, architecture, artists' organisations, institutional models, dealership and conservation. These are considered under the broad headings 'Art as Politics', 'Between the Public and the Domestic' and 'Creating Frameworks'. Such categories assist in posing questions regarding the politics of identity and gender, as well as providing an opportunity to explore the complex issues of cultural formation. The volume will be of interest to scholars and students of twentieth-century art history, museum and conservation studies, politics and cultural studies, in addition to those involved in German Studies and in German and Austrian Exile Studies."--BOOK JACKET.

Yearbook Volume 19 continues an investigation which began with Arts in Exile in Britain 1933-45 (Volume 6, 2004). Twelve chapters, ten in English and two in German, address and analyse the significant contribution of émigrés across the applied arts, embracing mainstream practices such as photography, architecture, advertising, graphics, printing, textiles and illustration, alongside less well known fields of animation, typography and puppetry. New research adds to narratives surrounding familiar émigré names such as Oskar Kokoschka and Wolf Suschitzky, while revealing previously hidden contributions from lesser known practitioners. Overall, the volume provides a valuable addition to the understanding of the applied arts in Britain from the 1930s onwards, particularly highlighting difficulties faced by refugees attempting to continue fractured careers in a new homeland. Contributors are: Rachel Dickson, Burcu Dogramaci, Deirdre Fernand, Fran Lloyd, David Low, John March, Sarah MacDougall, Anna Nyburg, Pauline Paucker, Ines Schlenker, Wilfried Weinke, and Julia Winckler.

New Perspectives on Br?cke Expressionism: Bridging History brings together highly-renowned international art historians in a scholarly work that offers the first full-length reassessment in English of the importance of the Br?cke group to German modernism specifically and to international modernism more generally. It challenges, interrogates and updates existing orthodoxies in the field of Br?cke studies by deploying new research combined with innovative interpretative approaches. This is an exciting volume of essays with an interlinking tripartite structure that charts the significance of this pioneering German avant-garde group in relation to various critical themes, namely, 'cultural and material identity', 'collectivity and selfhood', as well as 'defamation and rehabilitation'. The book is unique in the field in that it seeks to excavate specific historical research relating to the activities of the Br?cke as a bohemian yet nonetheless enterprising artists' community, and considers the contributions of the key members in relation to the dynamics of that group rather than simply on an individual basis. It thoroughly explores the historiography of the Br?cke artists' reception throughout the turbulent history of the twentieth century up until the present day.

This edited volume presents a cutting-edge discussion and analysis of civilian 'enemy alien' internment in Britain, the internment of British civilians on the continent, and civilian internment camps run by the British within the wider British Empire. The book brings together a range of interdisciplinary specialists including archaeologists, historians, and heritage practitioners to give a full overview of the topic of internment internationally. Very little has been written about the experience of interned Britons on the continent during the Second World War compared with continentals interned in Britain. Even fewer accounts exist of the regime in British Dominions where British guards presided over the camps. This collection is the first to bring together the British experiences, as the common theme, in one study. The new research presented here also offers updated statistics for the camps whilst considering the period between 1945 to the present day through related site heritage issues.

This volume focuses on the contribution of German-speaking refugees from Nazism to the performing arts in Britain, evaluating their role in broadcasting, theatre, film and dance from 1933 to the present. It contains essays evaluating the role of refugee artists in the BBC German Service, including the actor Martin Miller, the writer Bruno Adler and the journalist Edmund Wolf. Miller also made a career in the English theatre transcending the barrier of Language, as did the actor Gerhard Hinze, whose transition to the English stage is an instructive example of adaptation to a new theatre culture. In film, Language problems were mitigated by the technical possibilities of the medium, although stars like Anton Walbrook received coaching in English. Certainly, technicians from Central Europe, like the cameraman Wolf Suschitzky, helped establish the character of British film in the 1950s and 1960s. In dance theatre, Language played little role, facilitating the influence in Britain of dance practitioners like Kurt Jooss and Sigurd Leeder. Finally, evaluating the reverse influence of émigrés on Germany, two essays discuss Erich Fried’s translations of Shakespeare and Peter Zadek’s early theatre career in Germany.

This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.

This book is the first to focus specifically upon the relationship between refugees and intercultural transfer over an extensive period of time. Since circa 1830, a series of groups have made their way to Britain, beginning with exiles from the failed European revolutions of the mid-nineteenth century and ending with refugees who have increasingly come from beyond Europe. The book addresses four specific questions. First, what roles have individuals or groups of refugees played in cultural and political transfers to Britain since 1830? Second, can we identify a novel form of cultural production which differs from that in the homeland? Third, to what extent has dissemination within and transformation of the receiving culture occurred? Fourth, to what extent do refugee groups, themselves, undergo a process of cultural restructuring? The coverage of the individual essays ranges from high culture, through politics and everyday practices. The volume moves away from general perceptions of refugees as ‘problem groups’ and rather focuses on the way they have shaped, and indeed enriched, British cultural and political life. This book was previously published as a special issue of Immigrants and Minorities.

The archaeology of war has revealed evidence of bravery, sacrifice, heroism, cowardice, and atrocities. Mostly absent from these narratives of victory and defeat, however, are the experiences of prisoners of war, despite what these can teach us about cruelty, ingenuity, and human adaptability. The international array of case studies in Prisoners of War restores this hidden past through case studies of PoW camps of the Napoleonic era, the American Civil War, and both World Wars. These bring to light wide variations in historical and cultural details, excavation and investigative methods used, items found and their interpretation, and their contributions to archaeology, history and heritage. Illustrated with diagrams, period photographs, and historical quotations, these chapters vividly reveal challenges and opportunities for researchers and heritage managers, and revisit powerful ethical questions that persist to this day. Notorious and lesser-known aspects of PoW experiences that are addressed include: Designing and operating an 18th-century British PoW camp. Life and death at Confederate and Union American Civil War PoW camps. The role of possessions in coping strategies during World War I. The archaeology of the ‘Great Escape’ Experiencing and negotiating space at civilian internment camps in Germany and Allied PoW camps in Normandy in World War II. The role of archaeology in the memorial process, in America, Norway, Germany and France Graffiti, decorative ponds, illicit saké drinking, and family life at Japanese American camps As one of the first book-length examinations of this fascinating multidisciplinary topic, Prisoners of War merits serious attention from historians, social justice researchers and activists, archaeologists, and anthropologists.

More than two thousand people from the British Channel Islands were deported to and interned in Germany during the Second World War, making up as many as 60% of all interned British citizens in occupied territory during this period. This book carries out an in-depth analysis of artwork, objects, oral testimonies, archives, poetry, letters, diaries and memoirs gathered from the internees and drawing from around one hundred collections. The work is based on over 15 years of research and interviews with more than 65 former internees, and explores analytical themes and narratives of placemaking, resistance, communities, food and cooking. It also proposes new concepts and categories to help us understand objects that distinguish the experience of internment. This book will be of great value for scholars and museum professionals, as well as postgraduate students in the field of Conflict Archaeology and scholars of the Second World War. Cumulatively, this materiality comprises one of the major surviving assemblages of internees to emerge from the war, comparable in size, quality and importance with that from other theatres of war.