Year Zero vividly describes the apocalyptic downfall of the Nazi state in Berlin and the subsequent quadripartite occupation of the shattered capital by the Allied powers. This is a powerful story of victims, bystanders, persecutors, opportunists, heroes and villains. Meticulously researched and rich in historical detail, Year Zero draws on searing eyewitness accounts and archive material to provide a gripping narrative of the Wagnerian climax in Hitler's capital and the dramatic political, social, cultural and economic changes which occurred in the city during its first year under occupation. The author David McCormack works as a battlefield guide and historian. Previous publications include As the Cherry Blossom Falls: Japan at War 1931-45 and The Berlin Battlefield Guide: Part 1 ? The Battle of the Oder-Neisse.
A marvelous global history of the pivotal year 1945 as a new world emerged from the ruins of World War II Year Zero is a landmark reckoning with the great drama that ensued after war came to an end in 1945. One world had ended and a new, uncertain one was beginning. Regime change had come on a global scale: across Asia (including China, Korea, Indochina, and the Philippines, and of course Japan) and all of continental Europe. Out of the often vicious power struggles that ensued emerged the modern world as we know it. In human terms, the scale of transformation is almost impossible to imagine. Great cities around the world lay in ruins, their populations decimated, displaced, starving. Harsh revenge was meted out on a wide scale, and the ground was laid for much horror to come. At the same time, in the wake of unspeakable loss, the euphoria of the liberated was extraordinary, and the revelry unprecedented. The postwar years gave rise to the European welfare state, the United Nations, decolonization, Japanese pacifism, and the European Union. Social, cultural, and political “reeducation” was imposed on vanquished by victors on a scale that also had no historical precedent. Much that was done was ill advised, but in hindsight, as Ian Buruma shows us, these efforts were in fact relatively enlightened, humane, and effective. A poignant grace note throughout this history is Buruma’s own father’s story. Seized by the Nazis during the occupation of Holland, he spent much of the war in Berlin as a laborer, and by war’s end was literally hiding in the rubble of a flattened city, having barely managed to survive starvation rations, Allied bombing, and Soviet shock troops when the end came. His journey home and attempted reentry into “normalcy” stand in many ways for his generation’s experience. A work of enormous range and stirring human drama, conjuring both the Asian and European theaters with equal fluency, Year Zero is a book that Ian Buruma is perhaps uniquely positioned to write. It is surely his masterpiece.
As the seat of Hitler's government, Berlin was the most frequently targeted city in Germany for Allied bombing campaigns during World War II. Air raids shelled celebrated monuments, left homes uninhabitable, and reduced much of the city to nothing but rubble. After the war's end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war.
Reframing Berlin is about how architecture and the built environment can reveal the memory of a city, an urban memory, through its transformation and consistency over time by means of ‘urban strategies’, which have developed throughout history as cities have adjusted to numerous political, religious, economic and societal changes. These strategies are organised on a ‘memory spectrum’, which range from demolition to memorialisation. It reveals the complicated relationship between urban strategies and their influence on memory-making in the context of Berlin since 1895, with the help of film locations. It utilises cinematic representations of locations as an audio-visual archive to provide a deeper analysis of the issues brought up by strategies and case studies in relation to memory-making. Foreword by Kathleen James-Chakraborty A new volume in the Mediated Cities series from Intellect
This collection explores the most important transformations & upheavals of post-1945 Europe in the light of recent scholarship. It examines the post-war economic boom & the political realignment of eastern European states in the 1990s, amongst other topics.
At the end of the Second World War, the Soviet Union unexpectedly found itself in control of a huge swathe of territory in Eastern Europe. Stalin and his secret police set out to convert a dozen radically different countries to a completely new political and moral system: communism. In Iron Curtain, Pulitzer Prize-winning historian Anne Applebaum describes how the Communist regimes of Eastern Europe were created and what daily life was like once they were complete. Applebaum describes in devastating detail how political parties, the church, the media, young people's organizations - the institutions of civil society on every level - were quickly eviscerated. She explains how the secret police services were organized, how the media came to be dominated by communists, and how all forms of opposition were undermined and destroyed. Ranging widely across new archival material and many sources unknown in English, she follows the communists' tactics as they bullied, threatened and murdered their way to power. She also chronicles individual lives to show the choices people had to make - to fight, to flee, or to collaborate. Within a remarkably short period after the end of the war, Eastern Europe had been ruthlessly Stalinized. Iron Curtain is a brilliant history of a brutal period and a haunting reminder of how fragile free societies can be. Today the Soviet Bloc is a lost civilization, one whose cruelty, paranoia, bizarre morality, and strange aesthetics Anne Applebaum captures in the pages of this exceptional work of historical and moral reckoning.
As the Second World War neared its conclusion, Germany was a nation reduced to rubble: 3.6 million German homes had been destroyed leaving 7.5 million people homeless; an apocalyptic landscape of flattened cities and desolate wastelands. In May 1945 Germany surrendered, and Britain, America, Soviet Russia and France set about rebuilding their zones of occupation. Most urgent for the Allies in this divided, defeated country were food, water and sanitation, but from the start they were anxious to provide for the minds as well as the physical needs of the German people. Reconstruction was to be cultural as well as practical: denazification and re-education would be key to future peace and the arts crucial in modelling alternative, less militaristic, ways of life. Germany was to be reborn; its citizens as well as its cities were to be reconstructed; the mindset of the Third Reich was to be obliterated. When, later that year, twenty-two senior Nazis were put in the dock at Nuremberg, writers and artists including Rebecca West, Evelyn Waugh, John Dos Passos and Laura Knight were there to tell the world about a trial intended to ensure that tyrannous dictators could never again enslave the people of Europe. And over the next four years, many of the foremost writers and filmmakers of their generation were dispatched by Britain and America to help rebuild the country their governments had spent years bombing. Among them, Ernest Hemingway, Martha Gellhorn, Marlene Dietrich, George Orwell, Lee Miller, W.H. Auden, Stephen Spender, Billy Wilder and Humphrey Jennings. The Bitter Taste of Victory traces the experiences of these figures and through their individual stories offers an entirely fresh view of post-war Europe. Never before told, this is a brilliant, important and utterly mesmerising history of cultural transformation.
Acclaimed historian and New York Times bestselling author Craig Shirley delivers a compelling account of 1945, particularly the watershed events in the month of April, that details how America emerged from World War II as a leading superpower. In the long-awaited follow-up to the widely praised December 1941,Craig Shirley's April 1945 paints a vivid portrait of America--her people, faith, economy, government, and culture. The year of 1945 bought a series of watershed events that transformed the country into an arsenal of democracy, one that no longer armed the world by necessity but henceforth protected the world by need. At the start of 1945, America and the rest of the world were grieving millions of lives lost in the global conflict. As President Roosevelt was sworn into his fourth term, optimism over an end to the bloody war had grown--then, in April, several events collided that changed the face of the world forever: the sudden death of President Roosevelt followed by Harry S. Truman's rise to office; Adolph Hitler's suicide; and the horrific discoveries of Dachau and Auschwitz. Americans doubled down on their completion of the atomic bomb and their plans to drop them on Hiroshima and Nagasaki, the destruction ultimately leading the Japanese Empire to surrender on V-J day and ending World War II for good. Combining engaging anecdotes with deft research and details that are both diminutive and grand, April 1945 gives readers a front-row seat to the American stage at the birth of a brand-new world.
Since World War II, aesthetic impulses generated in Italy have swept through every film industry in the world, and in her book Mira Liehm analyses the roots in literature, philosophy, and contemporary Italian life which have contributed to this extraordinary vigor. An introductory chapter offers a unique overview of the Italian cinema before 1942. It is followed by a full and profound discussion of neorealism in its heyday, its difficult aftermath in the fifties, the glorious sixties, and finally by an analysis of the contemporary cinematic crisis. Mira Liehm has known personally many of the leading figures in Italian cinema, and her work is rich in insights into their lives and working methods. This impressive scholarly work immediately outclasses all other available Italian film histories. It will be essential reading for anyone seriously interested in the cinema.
When we talk about the geographical, ecological, ethnographic, historical, documentary, and cosmopolitan “turns” in relation to the work of practitioners of contempory art, what exactly do we mean? Are we talking about a “reading strategy”? About an interpretive model, as would be derived from the linguistic turn of the 1970s, or rather about a stratigraphic structure that could be read across multiple cultural practices? Do we wish to read one system by means of another system, in a way that one nurtures the other so that it can open us up to other forms of being? Or is it rather about a generative movement in which a new horizon emerges in the process, leaving behind the practice that was its point of departure? The recurrence of “turn” in place of “style”, “-ism”, or “tendency” would ultimately respond to a clear urgency of the contemporary global world: a movement characterised by aesthetic pluralism, by the simultaneousness of various modi operandi, and by a great multiplicity of languages that constantly change their state while having many features in common. And “turn” would also allow within the space of the contemporary — of here and now —, a great diversity of stories from all around the world that should be confronted simultaneously in an intellectual outlook that is continuous and disjunctive, essential to understanding the present as a whole.
Traces the decline of Anglo-American civilization and the concept of the gentleman in a fictionalized social history that follows a man named Kensington and the people who surround him from 1901 to 1969.
