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Memory Boxes
An Experimental Approach to Cultural Transfer in History, 1500-2000
Media Constructions of National and Transnational History
Public and Private Forms of Experiencing and Narrating the Past
Series: Histoire, 36

Unexpected Memories Returning Photographs and Films from the 1980s to an Asháninka Nomatsiguenga Community of the Peruvian Selva Central INGRID KUMMELS With the advent of cell phone photography and the practice of sending pic- tures across great distances to different viewing communities, photographs now are taken for granted in almost every part of the world. When Manfred Schäfer and I studied Völkerkunde (a discipline nowadays called cultural and social anthropology) at the Ludwig Maximilian University in Munich in the 1970s and 1980s, this was

DCS | Digital Culture and Society | Vol. 5, Issue 1 | © transcript 2019 DOI 10.14361/dcs-2019-0105 The Political Economy of Cultural Memory in the Videogames Industry Emil Lundedal Hammar Abstract Following the materialist approaches to contemporary digital mem- ory-making, this article explores how unequal access to memory pro- duction in videogames is determined along economic and cultural lines. Based on semi-structured qualitative interviews with different European, Asian and North American historical game developers, I make the case for how materialist

Exchanging Young Discourses between Israel and Germany

Peripheral Memories – Introduction ELISABETH BOESEN The recent development of memory research that, similar to earlier develop- ments in other research fields, brought about a near dominance of the subject in the social sciences and the humanities, has now reached a stage in which the symptoms of a crisis are becoming more than obvious. While the phrase “memory boom”, which has been popular for quite a while, already implies a certain criticism, we are currently encountering unmistakable characterisations such as the “hypertrophy” of memory

Theatre: Memory in Progress Wu Wenguang “Remember ... remembering ... can’t remember ... trying hard to remember.” This was the opening line projected onscreen from the work Memory. The line more or less cuts to the core and sums up everything about the piece, starting from its search for a working theme to the rehearsals and all the way to the performances themselves. Namely, it is a search for memories and within those memories an attempt to reveal something about reality. Memory was created in 2008 by the Living Dance Studio and marked for them a turning

Memory, Trauma and Empathy1 On the (Un)representability of the Civil War in Art NADINE SIEGERT “There is no denying – we are a very wounded people. These works capture not only the horrors of war as portrayed by the mutilated bodies – the unimaginable damage to our souls, and the horrible violation of the common consciousness that emanates through every image.”2 BRIGITTE MABANDLA/DEPUTY MINISTER OF ARTS, CULTURE, SCIENCE AND TECH- NOLOGY SOUTH AFRICA “In the autopsy I performed on my innocence I discovered the beginnings of secrecy and