From Hitler To Heimat

Examines changing attitudes among Germans as evident in films of the modern German era, leading away from guilt and atonement and seeking national identity.

* Winner of the National Book Critics Circle Award * Silver Medal Society of Illustrators * * Named a Best Book of the Year by The New York Times, The Boston Globe, San Francisco Chronicle, NPR, Comics Beat, The Milwaukee Journal-Sentinel, Kirkus Reviews, and Library Journal This “ingenious reckoning with the past” (The New York Times), by award-winning artist Nora Krug investigates the hidden truths of her family’s wartime history in Nazi Germany. Nora Krug was born decades after the fall of the Nazi regime, but the Second World War cast a long shadow over her childhood and youth in the city of Karlsruhe, Germany. Yet she knew little about her own family’s involvement; though all four grandparents lived through the war, they never spoke of it. After twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier. In this extraordinary quest, “Krug erases the boundaries between comics, scrapbooking, and collage as she endeavors to make sense of 20th-century history, the Holocaust, her German heritage, and her family's place in it all” (The Boston Globe). A highly inventive, “thoughtful, engrossing” (Minneapolis Star-Tribune) graphic memoir, Belonging “packs the power of Alison Bechdel’s Fun Home and David Small’s Stitches” (NPR.org).

An acknowledged authority on German history and memory, Alon Confino presents in this volume an original critique of the relations between nationhood, memory, and history, applied to the specific case of Germany. In ten essays (three never before published and one published only in German), Confino offers a distinct view of German nationhood in particular and of nationhood in general as a product of collective negotiation and exchange between the many memories that exist in the nation. The first group of essays centers on the period from 1871 to 1990 and explores how Germans used conceptions of the local, or Heimat, to identify what it meant to be German in a century of ideological upheavals. The second group of essays comprehensively critiques and analyzes the ways laypersons and scholars use the notion of memory as a tool to understand the past. Arguing that the case of Germany contains particular characteristics with broader implications for the way historians practice their trade, Germany as a Culture of Remembrance examines the limits and possibilities of writing history.

In discussions of postcolonial nationhood and cultural identity, Taiwan is often overlooked. Yet the island—with its complex history of colonization—presents a particularly fascinating case of the struggle to define a “nation.” While the mainland Chinese government has been unequivocal in its resistance to Taiwanese independence, in Taiwan, government control has gradually passed from mainland Chinese immigrants to the Taiwanese themselves. Two decades of democratization and the arrival of consumer culture have made the island a truly global space. Envisioning Taiwan sorts through these complexities, skillfully weaving together history and cultural analysis to give a picture of Taiwanese identity and a lesson on the usefulness and the limits of contemporary cultural theory. Yip traces a distinctly Taiwanese sense of self vis-à-vis China, Japan, and the West through two of the island’s most important cultural movements: the hsiang-t’u (or “nativist”) literature of the 1960s and 1970s, and the Taiwanese New Cinema of the 1980s and 1990s. At the heart of the book are close readings of the work of the hsiang-t’u writer Hwang Chun-ming and the New Cinema filmmaker Hou Hsiao-hsien. Key figures in Taiwan’s assertion of a national identity separate and distinct from China, both artists portray in vibrant detail daily life on the island. Through Hwang’s and Hou’s work and their respective artistic movements, Yip explores “the imagining of a nation” on the local, national, and global levels. In the process, she exposes a perceptible shift away from traditional models of cultural authenticity toward a more fluid, postmodern hybridity—an evolution that reflects both Taiwan’s peculiar multicultural reality and broader trends in global culture.

Analyzes how the Nazi past has become increasingly normalized within western memory since the start of the new millennium.

The Heimat film genre, assumed to be outdated by so many, is very much alive. Who would have thought that this genre - which has been almost unanimously denounced within academic circles, but which seems to resonate so deeply with the general public - would experience a renaissance in the 21st century? The genre's recent resurgence is perhaps due less to an obsession with generic storylines and stereotyped figures than to a basic human need for grounding that has resulted in a passionate debate about issues of past and present. This book traces the history of the Heimat film genre from the early mountain films to Fatih Akin's contemporary interpretations of Heimat.

The discourse of Heimat, meaning homeland or roots, has been a medium of debate on German identity between region and nation for at least a century. Four phases parallel Germany's discontinuous history: Heimat literature as a response to modernization and to regional tensions before the First World War; the inter-war period when Heimat divided into racist ideology, left-wing opposition, and inner resistance to the Third Reich; a post-war dialectic between escapist 1950s Heimat films and right-wing claims to the lost lands in the East to which anti-Heimat theatre and films in the 1960s and 1970s were a response, with the urban Heimat in GDR films adding a socialist twist; regionalism and green politics in the 1980s and German identity beyond Cold War divisions. A key point of reference in current debates on German history, Heimat looks likely to continue in postmodern and multicultural mode.

He shows how the way we understand ourselves reflects the ambivalent effects of the Holocaust on our perceptions of war and violence, history and memory, progress and barbarism.