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Populärkultur, Massenmedien, Avantgarde 1919-1933
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Jessica Nitsche
Jessica Nitsche
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Nadine Werner
Nadine Werner
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Timm Starl
Timm Starl
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Burkhardt Lindner
Burkhardt Lindner
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Bernd Stiegler
Bernd Stiegler
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Michael Wedel
Michael Wedel
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Detlev Schöttker
Detlev Schöttker
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Sabine Biebl
Sabine Biebl
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Sabine Breitsameter
Sabine Breitsameter
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Dieter Daniels
Dieter Daniels
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Chris Dähne
Chris Dähne
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Sophia Ebert
Sophia Ebert
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Eckhardt Köhn
Eckhardt Köhn
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Thomas Küpper
Thomas Küpper
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Anja Nowak
Anja Nowak
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Kaspar Maase
Kaspar Maase
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Nils Grosch
Nils Grosch
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Wolfgang Hagen
Wolfgang Hagen
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Felix Lenz
Felix Lenz
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Die intellektuelle Offenheit und die Populärkultur der Weimarer Republik entsprechen ihren allgemeinen Tendenzen der Demokratisierung. Das ästhetische Monopol des Bildungsbürgertums wird in Frage gestellt, denn die Massen fordern Emanzipation und Partizipation.
Neue tendenziell egalitäre Unterhaltungsgenres wie der Rundfunk wenden sich an die Massen als Kulturadressaten und dringen in die überkommenen Kunstformen vor. Es entstehen Diskurse, die um die Topoi der Mechanisierung, der Reproduzierbarkeit und der Masse angesiedelt sind. Neben den Avantgardebewegungen werden jene Phänomene in den Blick gerückt, die von Kunst- und Filmgeschichte bislang als trivial, populistisch oder kitschig ausgeblendet wurden, die aber vielfach die Bilder lieferten, die das kollektive Bildwissen der Zeit prägten.
Neue tendenziell egalitäre Unterhaltungsgenres wie der Rundfunk wenden sich an die Massen als Kulturadressaten und dringen in die überkommenen Kunstformen vor. Es entstehen Diskurse, die um die Topoi der Mechanisierung, der Reproduzierbarkeit und der Masse angesiedelt sind. Neben den Avantgardebewegungen werden jene Phänomene in den Blick gerückt, die von Kunst- und Filmgeschichte bislang als trivial, populistisch oder kitschig ausgeblendet wurden, die aber vielfach die Bilder lieferten, die das kollektive Bildwissen der Zeit prägten.
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