- Dr. Hanno Loewy, born 1961 in Frankfurt am Main, is a Scholar of Literature and Film, exhibition curator and author. ... moreDr. Hanno Loewy, born 1961 in Frankfurt am Main, is a Scholar of Literature and Film, exhibition curator and author. Since 2004 he is the Director of the Jewish Museum Hohenems in Austria.He built up the Fritz Bauer Institute - Study and Documentary Centre on the History and Impact of the Holocaust in Frankfurt am Main, functioning as the founding director between 1995-2000. As a guest curator he participated in the creation of the permanent exhibitions of the Jewish Museum Frankfurt am Main and Berlin. He curated several changing and permanent exhibitions on Jewish history and culture, the Holocaust and Palestine, at different art institutes and Jewish museums, including Frankfurt and Berlin. His publications cover subjects from the history of photography, film and modern aesthetics, Jewish history and culture and contemporary Jewish politics, to the impact of the Holocaust on literature and film.edit
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Béla Balázs, der Autor der ersten bedeutenden deutschsprachigen Filmtheorie, Der sichtbare Mensch, trat auch als Dramatiker, Romancier und Essayist, Dichter, Librettist und Märchenautor hervor.Seine Biographie (1884 geboren,... more
Béla Balázs, der Autor der ersten bedeutenden deutschsprachigen Filmtheorie, Der sichtbare Mensch, trat auch als Dramatiker, Romancier und Essayist, Dichter, Librettist und Märchenautor hervor.Seine Biographie (1884 geboren, ungarisch-deutsch-jüdischer Herkunft) spiegelt die romantischen Phantasien der Moderne, den Weg von der Lebensphilosophie zum Kommunismus, die Experimente gelebter Utopien in ihren Widersprüchen: Beziehung zu Georg Simmel und Henri Bergson, 'Waffenbrüderschaft' mit Georg Lukács, Engagement in Budapester 'Sonntagskreis' und Rätediktatur, Emigration nach Wien, Berlin und in die Sowjetunion.Die vorliegende Arbeit nähert sich der Beziehung zwischen dem Dichter und seinen Kino-Theorien in kritisch-biographischer und ideengeschichtlicher Weise.Den Rahmen einer Werkbiographie wie auch den einer Theoriegeschichte des Mediums überschreitend, eröffnet sie den Kontext philosophischer, psychoanalytischer und ethnologischer Deutungen: Fluchtpunkt dieser Rekon...
Research Interests: Aesthetics, Fairy tales, Initiation, Medien, Lukács, and 3 moreKommunismus, Entfremdung, and life philosophy
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Research Interests: Art and The Holocaust
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Keine neue Theorie der Erinnerung soll hier entwickelt werden. An Moritz Halbwachs anschliesend, ist viel uber kollektive Erinnerung geschrieben worden. Und zu Recht hat Aleida Assmann darauf hingewiesen, wie komplex sich die... more
Keine neue Theorie der Erinnerung soll hier entwickelt werden. An Moritz Halbwachs anschliesend, ist viel uber kollektive Erinnerung geschrieben worden. Und zu Recht hat Aleida Assmann darauf hingewiesen, wie komplex sich die Transformationsprozesse zwischen kollektiver, kommunikativer und kultureller Erinnerung gestalten. Weniger an Halbwachs denn an Nietzsche anschliesend, hat James Young immer wieder eingeklagt, dass Erinnerung dem Leben dienen musse. Doch mit diesem Postulat ist wenig gesagt.
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The artist Horst Hoheisel’s public artistic interventions have for some years involved deeply reflective attempts to establish in Germany a critical revision of the relationship between past and present, taboo remembrance and moral... more
The artist Horst Hoheisel’s public artistic interventions have for some years involved deeply reflective attempts to establish in Germany a critical revision of the relationship between past and present, taboo remembrance and moral acknowledgement, denial and demonstrative history.
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The artist Horst Hoheisel’s public artistic interventions have for some years involved deeply reflective attempts to establish in Germany a critical revision of the relationship between past and present, taboo remembrance and moral... more
The artist Horst Hoheisel’s public artistic interventions have for some years involved deeply reflective attempts to establish in Germany a critical revision of the relationship between past and present, taboo remembrance and moral acknowledgement, denial and demonstrative history.
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Ein kobheerianischer Frachter bringt einen rätselhaften Passagier auf die Raumstation Deep Space Nine. Der Mann leidet offenbar unter einer seltenen Krankheit, dem Kalla-Nohra Syndrom. Major Kira Nerys (Nana Visitor) lässt den Unbekannten... more
Ein kobheerianischer Frachter bringt einen rätselhaften Passagier auf die Raumstation Deep Space Nine. Der Mann leidet offenbar unter einer seltenen Krankheit, dem Kalla-Nohra Syndrom. Major Kira Nerys (Nana Visitor) lässt den Unbekannten festnehmen, denn er weckt einen Verdacht in ihr. Wie fast alle Folgen der Serie StarTrek, hierzulande besser bekannt als Raumschiff Enterprise, präsentierte auch Duet (die deutsche Fassung wurde unter dem Titel Der undurchschaubare Marritza ausgestrahlt) 1993 ein moralisches Dilemma. Und wie in so vielen Folgen von StarTrek spielten die Sternenvölker der Cardassianer und der Bajoraner dabei eine besondere Rolle. Doch davon später. Auch nach 1997, als in der nächsten Staffel Voyager sich StarTrek auf den Weg nach Hause zur Erde, machte trübten die spannungsreichen Beziehungen zwischen Cardassianern und Bajoranern so manches Mal die Stimmung an Bord
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... The Holocaust dramas of the 60s are centred around survivors (or victims), who, unlike Anne Frank, do not ... by their common past; for both heaven is full of corpses, as the images present it ... who is powerfully character-ized... more
... The Holocaust dramas of the 60s are centred around survivors (or victims), who, unlike Anne Frank, do not ... by their common past; for both heaven is full of corpses, as the images present it ... who is powerfully character-ized visually as some kind of a negative transfer-picture of the ...
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... liberators, greeted by the prisoners orchestra, now playing their music to celebrate victory. ... and the legends she heart of we realize, how much she relied on images ad visual tropes ... world upside down, and introduced almost... more
... liberators, greeted by the prisoners orchestra, now playing their music to celebrate victory. ... and the legends she heart of we realize, how much she relied on images ad visual tropes ... world upside down, and introduced almost all the cinematic expressions that form the visual ...
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OCTOBER 115, Winter 2006, pp. 61–76. © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology. Today, Bela Balazs is remembered primarily for his film theory. His literary writings—plays, poems, topical essays, fairy tales,... more
OCTOBER 115, Winter 2006, pp. 61–76. © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology. Today, Bela Balazs is remembered primarily for his film theory. His literary writings—plays, poems, topical essays, fairy tales, and novels—have largely been forgotten outside of his native Hungary. At most people recall that he wrote the libretto— originally as an independent “mystery drama”—for Bela Bartok’s Bluebeard’s Castle. Yet Balazs experimented throughout his life with every conceivable type of drama: librettos for opera and dance, puppet shows and shadow plays, mysteries and melodramas. “Writing and seeing a drama as symbolic, religious ceremony, carving idols and praying to idols—these are the greatest things an artist can do!”2 Such was the conclusion to his Todesasthetik (Aesthetics of Death) from 1907, the first version of which he had read in Georg Simmel’s private seminar in Berlin. What he was after, the drama of life as ritual, he later felt that he had found in the cinema. For Balazs, film represented an ideal new unity of culture and ritual, expression and experience. Yet all of his life he wished to remain a writer. He never got over the fact that his writing was lost in the shadow—or better the light—of film. Balazs was born Herbert Bauer in Szeged in 1884, the son of a HungarianGerman-Jewish couple, both of whom were teachers. His biography encapsulates in a particularly condensed fashion the intellectual and artistic crosscurrents of the first half of the twentieth century, with his outbursts of modernism and fantasies of a new romanticism, his switch from vitalism to Marxism, and his experience of bold utopian experiments.3 He studied in Berlin with Simmel and in Paris with
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... Verantwortlichkeit und, »moralisch vor aller Moral« (Inge-15 Page 18. borg Bachmann), in einigen Fällen eine entsprechend veränderte literari-sche Methode erzwang. Die Herausgeber danken allen, die die Tagung und dieses ...
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... liberators, greeted by the prisoners orchestra, now playing their music to celebrate victory. ... and the legends she heart of we realize, how much she relied on images ad visual tropes ... world upside down, and introduced almost... more
... liberators, greeted by the prisoners orchestra, now playing their music to celebrate victory. ... and the legends she heart of we realize, how much she relied on images ad visual tropes ... world upside down, and introduced almost all the cinematic expressions that form the visual ...
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Research Interests: Holocaust and Generation
... The Holocaust dramas of the 60s are centred around survivors (or victims), who, unlike Anne Frank, do not ... by their common past; for both heaven is full of corpses, as the images present it ... who is powerfully character-ized... more
... The Holocaust dramas of the 60s are centred around survivors (or victims), who, unlike Anne Frank, do not ... by their common past; for both heaven is full of corpses, as the images present it ... who is powerfully character-ized visually as some kind of a negative transfer-picture of the ...
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... liberators, greeted by the prisoners orchestra, now playing their music to celebrate victory. ... and the legends she heart of we realize, how much she relied on images ad visual tropes ... world upside down, and introduced almost... more
... liberators, greeted by the prisoners orchestra, now playing their music to celebrate victory. ... and the legends she heart of we realize, how much she relied on images ad visual tropes ... world upside down, and introduced almost all the cinematic expressions that form the visual ...
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Immer wieder kommt es zu Auseinandersetzungen über die Frage, wie "jüdisch“ ein "Jüdisches Museum“ zu sein hat – und was seine genuine Aufgabe sein sollte. Angesichts der Pluralität und Vielfalt jüdischer Stimmen könnte sie eigentlich der... more
Immer wieder kommt es zu Auseinandersetzungen über die Frage, wie "jüdisch“ ein "Jüdisches Museum“ zu sein hat – und was seine genuine Aufgabe sein sollte. Angesichts der Pluralität und Vielfalt jüdischer Stimmen könnte sie eigentlich der ideale Ort sein, diesen politischen Kontroversen eine Bühne zu bieten.
Konnen die An-den-Rand-Gedrangten malen? Palastinensische und judische Graffiti in Jaffa wahrend der Gentrifizierung
In All About Tel-Aviv-Jaffa (Judisches Museum Hohenems) 2019
Edited by Hannes Sulzenbacher and Hanno Loewy
In All About Tel-Aviv-Jaffa (Judisches Museum Hohenems) 2019
Edited by Hannes Sulzenbacher and Hanno Loewy
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Blackface. Populäre Unterhaltungsform in den Vereinigten Staaten, in denen weiße Unterhaltungssänger (Minstrels) musikalische Parodien aus dem Milieu der Südstaaten und ihrer Plantagenwirtschaft darboten. Mit schwarz geschminkten... more
Blackface. Populäre Unterhaltungsform in den Vereinigten Staaten, in denen weiße Unterhaltungssänger (Minstrels) musikalische Parodien aus dem Milieu der Südstaaten und ihrer Plantagenwirtschaft darboten. Mit schwarz geschminkten Gesichtern und Händen imitierten sie in Aussehen, Sprache und Gebärden die afroamerikanischen Sklaven in karikaturhafter Verzerrung. Blackface, dessen Ära 1830 begann, ermöglichte auch Einwanderern wie den Iren und später insbesondere den Juden den Zugang zur Bühne. Jüdische Entertainer sorgten nach 1900 noch einmal für eine Renaissance des Blackface, nun als zunehmend selbstreflexives Spiel mit den ethnischen Differenzen der Einwanderungsgesellschaft.