Despite the nearly three decades since German reunification, there remains little understanding of the ways in which experiences overlapped across East-West divides. German Division as Shared Experience considers everyday life across the two Germanies, using perspectives from history, literary and cultural studies, anthropology and art history to explore how interconnections as well as fractures between East and West Germany after 1945 were experienced, lived and felt. Through its novel approach to historical method, the volume points to new understandings of the place of narrative, form and lived sensibility in shaping Germans’ simultaneously shared and separate experiences of belonging during forty years of division from 1945 to 1990.

Despite the nearly three decades since German reunification, there remains little understanding of the ways in which experiences overlapped across East-West divides. German Division as Shared Experience considers everyday life across the two Germanies, using perspectives from history, literary and cultural studies, anthropology and art history to explore how interconnections as well as fractures between East and West Germany after 1945 were experienced, lived and felt. Through its novel approach to historical method, the volume points to new understandings of the place of narrative, form and lived sensibility in shaping Germans’ simultaneously shared and separate experiences of belonging during forty years of division from 1945 to 1990.

The division of Germany separated a nation, divided communities, and inevitably shaped the life histories of those growing up in the socialist dictatorship of the East and the liberal democracy of the West. This peculiarly German experience of the Cold War is usually viewed through the lens of divided Berlin or other border communities. What has been much less explored, however, is what division meant to the millions of Germans in the East and West who lived far away from the Wall and the centres of political power. This volume is the first comparative study to examine how villagers in both Germanies dealt with the imposition of two very different systems in their everyday lives. Focusing on two villages, Neukirch (Lausitz) in Saxony and Ebersbach an der Fils in Baden-Württemberg, it explores how local residents experienced and navigated social change in their localities in the postwar era. Based on a wide range of archival sources as well as oral history interviews, the work argues that there are parallel histories of responses to social change among villagers in postwar Germany. Despite the different social, political, and economic developments, the residents of both localities desired rural modernisation, lamented the loss of 'community', and became politically active to control the transformation of their localities. The work thereby offers a bottom-up history of divided Germany which shows how individuals on both sides of the Wall gave local meaning to large-scale processes of change.

This book focuses on one of the most visible and important consequences of total defeat in postwar Germany: the return to East and West Germany of the two million German soldiers and POWs who spent an extended period in Soviet captivity. These former prisoners made up a unique segment of German society. They were both soldiers in the war of racial annihilation on the Eastern front and then suffered extensive hardship and deprivation themselves as prisoners of war. The book examines the lingering consequences of the soldiers' return and explores returnees' own responses to a radically changed and divided homeland. Historian Frank Biess traces the origins of the postwar period to the last years of the war, when ordinary Germans began to face the prospect of impending defeat. He then demonstrates parallel East and West German efforts to overcome the German loss by transforming returning POWs into ideal post-totalitarian or antifascist citizens. By exploring returnees' troubled adjustment to the more private spheres of the workplace and the family, the book stresses the limitations of these East and West German attempts to move beyond the war. Based on a wide array of primary and secondary sources, Homecomings combines the political history of reconstruction with the social history of returnees and the cultural history of war memories and gender identities. It unearths important structural and functional similarities between German postwar societies, which remained infused with the aftereffects of unprecedented violence, loss, and mass death long after the war was over.

In this book, native popular musicologists focus on their own popular music cultures from Germany, Austria and Switzerland for the first time: from subcultural to mainstream phenomena; from the 1950s to contemporary acts. Starting with an introduction and two chapters on the histories of German popular music and its study, the volume then concentrates on focused, detailed and yet concise close readings from different perspectives (including particular historical East and West German perspectives), mostly focusing on the music and its protagonists. Moreover, these analyses deal with very original specific genres such as Schlager and Krautrock as well as transcultural genres such as Punk or Hip Hop. There are additional chapters on characteristically German developments within music media, journalism and the music industry. The book will contribute to a better understanding of German, Austrian and Swiss popular music, and will interconnect international and especially Anglo-American studies with German approaches. The book, as a consequence, will show close connections between global and local popular music cultures and diverse traditions of study.

German Crime Dramas from Network Television to Netflix approaches German television crime dramas to uncover the intersections between the genre's media-specific network and post-network formats and how these negotiate with and contribute to concepts of the regional, national, and global. Part I concentrates on the ARD network's long-running flagship series Tatort (Crime Scene 1970-). Because the domestically produced crime drama succeeded in interacting with and competing against dominant U.S. formats during 3 different mediascapes, it offers strategic lessons for post-network television. Situating 9 Tatort episodes in their televisual moment within the Sunday evening flow over 38 years and 3 different German regions reveals how producers, writers, directors, critics, and audiences interacted not only with the cultural socio-political context, but also responded to the challenges aesthetically, narratively, and media-reflexively. Part II explores how post-2017 German crime dramas (Babylon Berlin, Dark, Perfume, and Dogs of Berlin) rework the genre's formal and narrative conventions for global circulation on Netflix. Each chapter concentrates on the dynamic interplay between time-shifted viewing, transmedia storytelling, genre hybridity, and how these interact with projections of cultural specificity and continue or depart from established network practices. The results offer crucial information and inspiration for producers and executives, for creative teams, program directors, and television scholars.

Writing and Rewriting the Reich tells the complex story of women journalists as both outsiders and insiders in the German press of the National Socialist and post-war years. From 1933 onward, Nazi press authorities valued female journalists as a means to influence the public through charm and subtlety rather than intimidation or militant language. Deborah Barton reveals that despite the deep sexism inherent in the Nazi press, some women were able to capitalize on the gaps between gender rhetoric and reality to establish prominent careers in both soft and hard news. Based on data collected on over 1,500 women journalists, Writing and Rewriting the Reich describes the professional opportunities open to women during the Nazi era, their gendered contribution to Nazi press and propaganda goals, and the ways in which their Third Reich experiences proved useful in post-war divided Germany. It draws on a range of sources including editorial proceedings, press association membership records, personal correspondence, newspapers, diaries, and memoirs. It also sheds light on both unknown journalists and famous figures including Margret Boveri, Ruth Andreas-Friedrich, and Ursula von Kardorff. Addressing the long-term influence of women journalists, Writing and Rewriting the Reich illuminates some of the most salient issues in the nature of Nazi propaganda, the depiction of wartime violence, and historical memory.

Using new archival sources--including previously secret documents of the East German secret police and Communist Party--M. E. Sarotte goes behind the scenes of Cold War Germany during the era of detente, as East and West tried negotiation instead of confrontation to settle their differences. In Dealing with the Devil, she explores the motives of the German Democratic Republic and its Soviet backers in responding to both the detente initiatives, or Ostpolitik, of West Germany and the foreign policy of the United States under President Nixon. Sarotte focuses on both public and secret contacts between the two halves of the German nation during Brandt's chancellorship, exposing the cynical artifices constructed by negotiators on both sides. Her analysis also details much of the superpower maneuvering in the era of detente, since German concerns were ever present in the minds of leaders in Washington and Moscow, and reveals the startling degree to which concern over China shaped European politics during this time. More generally, Dealing with the Devil presents an illuminating case study of how the relationship between center and periphery functioned in the Cold War Soviet empire.

Looking at monuments, murals, computer games, recycling campaigns, children's books, and other visual artifacts, The Oxford Handbook of Communist Visual Cultures reassesses communism's historical and cultural legacy.