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class="menu-item menu-item-type-post_type menu-item-object-page menu-item-5951"><a href="https://elts.ucla.edu/people/">People</a></li> <li class="menu-item menu-item-type-post_type menu-item-object-page menu-item-5984"><a href="https://elts.ucla.edu/undergraduate/">Undergraduate</a></li> <li class="menu-item menu-item-type-post_type menu-item-object-page menu-item-5983"><a href="https://elts.ucla.edu/graduate/">Graduate</a></li> <li class="menu-item menu-item-type-post_type menu-item-object-page menu-item-5982"><a href="https://elts.ucla.edu/resources/">Resources</a></li> <li class="menu-item menu-item-type-post_type menu-item-object-page menu-item-5981"><a href="https://elts.ucla.edu/alumni-friends/">Alumni & Friends</a></li> <li class="menu-item menu-item-type-taxonomy menu-item-object-category menu-item-7590"><a href="https://elts.ucla.edu/category/news/">News</a></li> <li class="menu-item menu-item-type-custom menu-item-object-custom menu-item-7591"><a href="/events">Events</a></li> </ul> </nav> </div> </div> <div class="col" role="main"> <article id="post-6983" class="post-6983 page type-page status-publish hentry" role="article" itemscope itemtype="http://schema.org/BlogPosting"> <h1 class="page-title">Site Credits</h1> <section> <h1><a href="https://elts.ucla.edu/"><strong>HOMEPAGE</strong></a></h1> <p>On the departmental website as paratext: Rembert Hüser, “Looking Good with Kafka,” in <i><span style="font-weight: 400;">The Meaning of Culture: German Studies in the 21st Century</span></i><span style="font-weight: 400;">, ed. Martin Kagel and, Laura Tate Kagel (Hannover: Wehrhahn Verlag, 2009), pp. 225-254 and Alexander Galloway, </span><i><span style="font-weight: 400;">The Interface Effect </span></i><span style="font-weight: 400;">(Malden: Polity Press, 2012).</span></p> <h2 style="text-align: left;"><strong>Set 1</strong></h2> <p><img fetchpriority="high" decoding="async" class="alignnone wp-image-8571" src="https://elts.ucla.edu/wp-content/uploads/2021/04/3-300x233.jpg" alt="" width="261" height="203" srcset="https://elts.ucla.edu/wp-content/uploads/2021/04/3-300x233.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2021/04/3-1024x794.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2021/04/3-768x596.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2021/04/3.jpg 1238w" sizes="(max-width: 261px) 100vw, 261px" /><br /> Simone Dede Ayivi, <em>First Black Woman in Space</em> (2016). Photograph by and with permission from Ute Langkafel / Maifoto.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a style="background-color: #ffffff;" href="https://www.simonededeayivi.com/en/projekte/first-black-woman-in-space-2/">http://www.simonededeayivi.com/first-black-woman-in-space/</a> and Priscilla Layne, <em>Out of this World: Afro-German Afrofuturism</em>, <a href="https://nupress.northwestern.edu/9780810147577/out-of-this-world/.">https://nupress.northwestern.edu/9780810147577/out-of-this-world/.</a></li> </ul> </li> </ul> </li> </ul> <p><img decoding="async" class="wp-image-8037 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/RH2212-0009-1-227x300.jpg" alt="" width="189" height="250" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/RH2212-0009-1-227x300.jpg 227w, https://elts.ucla.edu/wp-content/uploads/2020/10/RH2212-0009-1-776x1024.jpg 776w, https://elts.ucla.edu/wp-content/uploads/2020/10/RH2212-0009-1-768x1014.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/RH2212-0009-1.jpg 850w" sizes="(max-width: 189px) 100vw, 189px" /><br /> Musée des Civilisations de l’Europe et de la Méditerranée Rudy Ricciotti (architect) and, Roland Halbe (photographer) (2013). With permission from Roland Halbe.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.architectural-review.com/today/coq-of-the-walk-mucem-marseille-france-by-rudy-ricciotti">https://www.architecturalreview.com/today/</a><a href="https://www.architectural-review.com/today/coq-of-the-walk-mucem-marseille-france-by-rudy-ricciotti">coq-of-the-walk-mucem-marseille-france-by-rudy-ricciotti</a> and, Chiara De Cesari, “Museums of Europe: Tangles of Memory, Borders, and Race,” in <em>Museum Anthropology</em> 40:1 (2017), pp. 18-35.</li> </ul> </li> </ul> </li> </ul> <p><img decoding="async" class="wp-image-8038 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/b73c7b0d-94f7-4e46-99b7-5e9d239509cd-300x243.jpg" alt="" width="250" height="203" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/b73c7b0d-94f7-4e46-99b7-5e9d239509cd-300x243.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/b73c7b0d-94f7-4e46-99b7-5e9d239509cd-1024x828.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/b73c7b0d-94f7-4e46-99b7-5e9d239509cd-768x621.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/b73c7b0d-94f7-4e46-99b7-5e9d239509cd-1536x1242.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/b73c7b0d-94f7-4e46-99b7-5e9d239509cd-2048x1656.jpg 2048w" sizes="(max-width: 250px) 100vw, 250px" /><br /> Marcel Broodthaers, <i>La conquête de l’espace. Atlas à l’usage des artistes et militaires (The conquest of space. Atlas for the use of artists and the military) </i>(1975). Lebber Hossmann publisher, Brussels. 38 x 25 mm, 38 pages, offset, boxed. Copyright Estate Marcel Broodthaers. With permission from the Artists’ Rights Society (ARS), New York.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Deborah Schultz, <i>Marcel Broodthaers: Strategy and Dialogue</i> (Bern: Peter Lang, 2007).</li> </ul> </li> </ul> </li> </ul> <hr /> <h2><strong>Set 2</strong></h2> <p><img loading="lazy" decoding="async" class="wp-image-8041 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/ef245768-f7ff-48e8-a769-5e43afd1dee7-300x210.jpg" alt="" width="285" height="200" /><br /> Edmund Collein, <em>Bauatelier Gropius</em> (1927-1928). © Ursula Kirsten-Collein, Berlin. With permission from The J. Paul Getty Museum, Los Angeles.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a style="background-color: #ffffff;" href="https://www.bauhaus.de/en/das_bauhaus/">https://www.bauhaus.de/en/das_bauhaus/</a> and, Alexander Klose<i>,</i> <i>The Container Principle: How a Box Changes the Way We Think</i> [German: <i>Das Container-Prinzip. Wie eine Box unser Denken verändert</i>, 2009], trans. Charles Marcrum (Cambridge, MA and, London: MIT Press, 2015).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="alignnone wp-image-10003" src="https://elts.ucla.edu/wp-content/uploads/2021/06/set-2_image-2-300x206.jpg" alt="" width="323" height="222" srcset="https://elts.ucla.edu/wp-content/uploads/2021/06/set-2_image-2-300x206.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2021/06/set-2_image-2-768x527.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2021/06/set-2_image-2.jpg 800w" sizes="(max-width: 323px) 100vw, 323px" /><br /> Candida Höfer, <em>Stadtbibliothek Stockholm 1993</em> (1993). Copyright © 1993 Candida Höfer/VG Bild-Kunst, Bonn. With permission from the artist.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: https://prestelpublishing.penguinrandomhouse.de/book/Candida-Hoefer-Libraries/Candida-Hoefer/Prestel-com/e555509.rhd, with an essay by Umberto Eco (Munich, London and, New York: Prestel, 2019) and, Patience Graybill, “Archiving the Collection: The Aesthetics of Space and, Public Cultural Collections in Candida Höfer’s Photography,” in <em>MoveableType</em> 3 (2007), pp. 40-70.</li> </ul> </li> </ul> </li> </ul> <p><strong><img loading="lazy" decoding="async" class="wp-image-8042 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/76cb8a4e-7206-4e87-b55b-743a3520eb42-300x198.jpg" alt="" width="303" height="200" /></strong><br /> Matthieu Godet, <em>Bury me, my Love</em> (2017). The Pixel Hunt, Figs, ARTE France, Dear Villagers. With permission from Pixel Hunt.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.arte.tv/sites/webproductions/en/bury-me-my-love/"><span style="font-weight: 400;">https://www.arte.tv/sites/webproductions/en/bury-me-my-love/</span></a><span style="font-weight: 400;">, </span><a href="https://www.lemonde.fr/international/visuel/2015/12/18/dans-le-telephone-d-une-migrante-syrienne_4834834_3210.html"><span style="font-weight: 400;">https://www.lemonde.fr/international/visuel/2015/12/18/dans-le-telephone-d-une-migrante-syrienne_4834834_3210.html</span></a> and, Melissa Kagen, “‘Glory to Trumpland!’ Critically Playing Border Games,” in: <em>gamevironments </em>11 (2019), pp. 23-64.</li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>Set 3</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8044 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-207x300.jpg" alt="" width="196" height="284" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-207x300.jpg 207w, https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-707x1024.jpg 707w, https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-768x1113.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-1060x1536.jpg 1060w, https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-1413x2048.jpg 1413w, https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-883x1280.jpg 883w, https://elts.ucla.edu/wp-content/uploads/2020/10/1d8939b1-0b42-4e8c-b918-43711c605775-scaled.jpg 1766w" sizes="(max-width: 196px) 100vw, 196px" /><br /> <span style="font-weight: 400;">Faustin Linyekula, </span><i><span style="font-weight: 400;">My Body, My Archive </span></i><span style="font-weight: 400;">(2020), </span><span style="font-weight: 400;">performance view, Studios Kabako (<a href="http://www.kabako.org/">http://www.kabako.org/</a>). </span><span style="font-weight: 400;">Photograph © Tate (Oliver Cowling) (2020). With permission from Tate Images.</span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://www.tate.org.uk/whats-on/tate-modern/exhibition/bmw-tate-live-exhibition-2020">https://www.tate.org.uk/whats-on/tate-modern/exhibition/bmw-tate-live-exhibition-2020</a> </span><span style="font-weight: 400;">and, Virginie Dupray, “Kisangani: a chronicle of return: to realize one fine day that the tales one hopes to tell are not those of exile…,” trans. Allen F. Roberts, in </span><i><span style="font-weight: 400;">African Arts</span></i><span style="font-weight: 400;"> 46:1 (2013), pp. 30-35.</span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8047 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/37fe4e38-9936-4483-9e39-a53225c34272-1-208x300.jpg" alt="" width="174" height="250" /><br /> Bookwheel from Agostino Ramelli, <em>Le diverse et artificiose machine</em> (1588).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Ben Kafka, <em>The Demon of Writing: Powers and Failures of Paperwork</em> (New York: Zone Books, 2012).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8048 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/e0022a79-8296-48b0-bf2e-3e78b1a2f09f-300x182.jpg" alt="" width="311" height="189" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/e0022a79-8296-48b0-bf2e-3e78b1a2f09f-300x182.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/e0022a79-8296-48b0-bf2e-3e78b1a2f09f.jpg 441w" sizes="(max-width: 311px) 100vw, 311px" /><br /> Postage stamp, “35 Jahre DDR, Wohnungsbau” (1984).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Rembert Hüser, “Ibiza, DDR,” in <em>Geht Doch</em>, ed. Hanna Engelmeier and Ekkehard Knörer (Berlin: Verbrecher Verlag, 2020)<span style="font-weight: 400;">, <a href="https://www.verbrecherverlag.de/shop/geht-doch/">https://www.verbrecherverlag.de/shop/geht-doch/</a></span><span style="font-weight: 400;">.</span></li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>Set 4</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="alignnone wp-image-10052" src="https://elts.ucla.edu/wp-content/uploads/2021/06/Set-4_Original_A-copy-300x217.jpg" alt="" width="253" height="183" srcset="https://elts.ucla.edu/wp-content/uploads/2021/06/Set-4_Original_A-copy-300x217.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2021/06/Set-4_Original_A-copy-768x555.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2021/06/Set-4_Original_A-copy.jpg 890w" sizes="(max-width: 253px) 100vw, 253px" /><br /> Alberto Burri, <em>Grande Cretto Nero</em> (1976-1977). Franklin D. Murphy Sculpture Garden, fired ceramic. Gift of the artist, 1977. Photograph with permission from Tom Harrison.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://newsroom.ucla.edu/dept/faculty/40th-anniversary-of-sculptor-alberto-burri-s-gift-to-ucla"><span style="font-weight: 400;">https://newsroom.ucla.edu/dept/faculty/40th-anniversary-of-sculptor-alberto-burri-s-gift-to-ucla</span></a> and, <a href="https://www.guggenheim.org/exhibition/alberto-burri-the-trauma-of-painting"><span style="font-weight: 400;">https://www.guggenheim.org/exhibition/alberto-burri-thetrauma-of-painting</span></a><span style="font-weight: 400;">.</span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="alignnone wp-image-10129" src="https://elts.ucla.edu/wp-content/uploads/2021/06/map-300x171.jpg" alt="" width="339" height="193" srcset="https://elts.ucla.edu/wp-content/uploads/2021/06/map-300x171.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2021/06/map-768x437.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2021/06/map.jpg 927w" sizes="(max-width: 339px) 100vw, 339px" /><br /> TeleGeography, <em>Submarine Cable Map</em> (2015). With permission from TeleGeography. <a href="https://submarine-cable-map-2015.telegeography.com/">https://submarine-cable-map-2015.telegeography.com/</a></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Nicole Starosielski, <em>The Undersea Network </em>(Durham: Duke University Press, 2015) and, <a href="http://www.surfacing.in/">http://www.surfacing.in/</a></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8054 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-300x186.jpg" alt="" width="324" height="201" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-300x186.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-1024x635.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-768x476.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-1536x953.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-2048x1271.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/57e88bfa-0798-4d5c-bdc0-e856ea3df6cb-1650x1024.jpg 1650w" sizes="(max-width: 324px) 100vw, 324px" /><br /> <span style="font-weight: 400;">Hotel Pro Forma, </span><i><span style="font-weight: 400;">Undercover </span></i><span style="font-weight: 400;">(2010). Photograph by Karsten Bundgaard. With permission from the artists. </span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.hotelproforma.dk/project/undercover/">https://www.hotelproforma.dk/project/undercover/</a> <i></i>and, Annelis Kuhlmann, “<em>Undercover</em> by Hotel Pro Forma, Performing the National Archive: Staging Cultural Heritage at the Royal Library in Copenhagen,” in <em>Performing Archives / Archives of Performance</em>, ed. Rune Gade and, Gunhild Borggreen (Copenhagen: Museum Tusculanum Press, 2013), pp. 292-310.</li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>Set 5</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="alignnone wp-image-10001" src="https://elts.ucla.edu/wp-content/uploads/2021/06/set-5_image-1-219x300.jpg" alt="" width="183" height="251" /><br /> Hannah Ryggen at the loom, c. 1964, Adresseavisen, Trondheim.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.schirn.de/en/exhibitions/2019/hannah_ryggen/">https://www.schirn.de/en/exhibitions/2019/hannah_ryggen/</a> and, Birgit Schneider, “Programmed Images: Systems of Notation in Seventeenth and, Eighteenth-Century Weaving” [German: “Programmierte Bilder. Notationssysteme der Weberei aus dem 17. und 18. Jahrhundert,” 2008], in <em>The Technical Image. A History of Styles in Scientific Imagery</em>, ed. Birgit Schneider, Horst Bredekamp and, Vera Dünkel (Chicago: University of Chicago Press, 2015), pp. 142-151.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="alignnone wp-image-10061" src="https://elts.ucla.edu/wp-content/uploads/2021/06/Set-5_Original_B_copy-copy-300x263.jpg" alt="" width="266" height="233" srcset="https://elts.ucla.edu/wp-content/uploads/2021/06/Set-5_Original_B_copy-copy-300x263.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2021/06/Set-5_Original_B_copy-copy-768x673.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2021/06/Set-5_Original_B_copy-copy.jpg 960w" sizes="(max-width: 266px) 100vw, 266px" /><br /> Illustration of Rome from the <em>Nuremberg Chronicle</em> (1493).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a style="background-color: #ffffff;" href="https://cudl.lib.cam.ac.uk/view/PR-INC-00000-A-00007-00002-00888/1">https://cudl.lib.cam.ac.uk/view/PR-INC-00000-A-00007-00002-00888/1</a> and, Christoph Reske, <em>The Production of Schedel’s Nuremberg Chronicle / Die Produktion der Schedelschen Weltchronik in Nürnberg </em>(Wiesbaden: Harrassowitz, 2000).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8058 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-300x169.jpg" alt="" width="358" height="201" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-300x169.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-1024x576.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-768x432.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-1536x864.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-2048x1152.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/a7effefd-b926-4fa7-9545-e60804bf202c-1650x928.jpg 1650w" sizes="(max-width: 358px) 100vw, 358px" /><br /> Ménilmonde, <em>Apparences </em>(2016). With permission from the artist.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.collater.al/en/tv/apparences-paris-giant-film-set-menilmonde/">https://www.collater.al/en/tv/apparences-paris-giant-film-set-menilmonde/</a><a href="https://petapixel.com/2016/01/13/this-video-makes-paris-look-like-the-fake-world-of-a-movie-set/,">,</a> Tim Bergfelder, Sue Harris, and, Sarah Street, <em>Film Architecture and, the Transnational Imagination: Set Design in 1930s European Cinema</em> (Amsterdam: Amsterdam University Press, 2007) and, Anthony Vidler<em>, </em>“The Explosion of Space: Architecture and, the Filmic Imaginary,” in <em>Assemblage</em> 21 (August 1993), pp. 44-59.</li> </ul> </li> </ul> </li> </ul> <p> </p> <h1><a href="https://elts.ucla.edu/undergraduate/languages/"><strong>LANGUAGES</strong></a></h1> <p> </p> <h2 style="text-align: left;"><strong>Dutch</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-7570 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/09/Dutch-image-1-1-300x169.jpg" alt="" width="327" height="184" srcset="https://elts.ucla.edu/wp-content/uploads/2020/09/Dutch-image-1-1-300x169.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/09/Dutch-image-1-1-1024x576.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/09/Dutch-image-1-1-768x432.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/09/Dutch-image-1-1.jpg 1280w" sizes="(max-width: 327px) 100vw, 327px" /><br /> GeoCraftNL, “The entire Netherlands in Minecraft” (2015-present).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://geocraft.nl/english/">https://geocraft.nl/english/</a> </span><span style="font-weight: 400;">and, Bart Simon and, Darren Wershler, “Childhood’s End (or, We Have Never Been Modern, Except in Minecraft),” in </span><i><span style="font-weight: 400;">Cultural Politics </span></i><span style="font-weight: 400;">14:3 (2018), pp. 289-303.</span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="alignnone wp-image-8031" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-2-300x234.jpg" alt="" width="278" height="216" /><br /> <span style="font-weight: 400;">Follower of Hieronymus Bosch, </span><i><span style="font-weight: 400;">Christ in Limbo</span></i> <span style="font-weight: 400;"><span style="font-weight: 400;">(c. 1575), Martha Delzell Memorial Fund. </span></span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Nils Büttner, “Where is Paradise? Imagining Heaven and Hell in Early Modern Times,” in <i>Imagined Worlds: Willful Invention and the Printed Image 1470-2005</i>, ed. Amy Baker Sandback (New York: Axa Gallery and International Print Center, 2005), pp. 37-56.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8061 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-3-300x196.jpg" alt="" width="318" height="208" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-3-300x196.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-3-1024x670.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-3-768x503.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-3.jpg 1100w" sizes="(max-width: 318px) 100vw, 318px" /><br /> Rutger Hauer in <i>Blade Runner</i> (1982), directed by Ridley Scott, film still, Ladd Company/Warner Bros.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://www.theguardian.com/film/2019/jul/25/rutger-hauer-obituary">https://www.theguardian.com/film/2019/jul/25/</a></span>, <span style="font-weight: 400;">Kaja Silverman, “Back to the Future,” in </span><i><span style="font-weight: 400;">Camera Obscura</span></i><span style="font-weight: 400;"> 27 (1991), pp. 109-132.</span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8062 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-232x300.jpg" alt="" width="206" height="266" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-232x300.jpg 232w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-791x1024.jpg 791w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-768x994.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-1187x1536.jpg 1187w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-1583x2048.jpg 1583w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4-989x1280.jpg 989w, https://elts.ucla.edu/wp-content/uploads/2020/10/Dutch-image-4.jpg 1700w" sizes="(max-width: 206px) 100vw, 206px" /><br /> <span style="font-weight: 400;">Madeleijn van den Nieuwenhuizen, “Petition for a statue for former politician and feminist Corry Tendeloo.” Modified photograph for social media circulation and distribution.</span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://standbeeldvoorcorrytendeloo.petities.nl/">https://www.standbeeldvoorcorrytendeloo.nl/</a>,</span><span style="font-weight: 400;"> <a href="https://www.nporadio1.nl/geschiedenis/17063-een-standbeeld-voor-corry-tendeloo">https://www.nporadio1.nl/</a> </span><span style="font-weight: 400;">and, Mineke Bosch, “Gender and the Personal in Political Biography: Observations from a Dutch Perspective,” in </span><i><span style="font-weight: 400;">Journal of Women’s History</span></i><span style="font-weight: 400;"> 21:4 (winter 2009), pp. 13-37. </span></li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>French</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8064 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-300x232.jpg" alt="" width="290" height="224" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-300x232.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-1024x791.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-768x593.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-1536x1187.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-2048x1583.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-1-1650x1275.jpg 1650w" sizes="(max-width: 290px) 100vw, 290px" /><br /> <span style="font-weight: 400;">Agnès Varda, <i>Mur Murs </i>(1981), film poster. </span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: Rita Gonzalez, “Lessons for Reading Los Angeles.” Lecture at the Frankfurt Film Museum (2016), <a href="https://www.youtube.com/watch?v=samiqrBMKo0.">https://www.youtube.com/watch?v=samiqrBMKo0.</a></span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8065 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-300x192.jpg" alt="" width="323" height="206" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-300x192.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-1024x655.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-768x491.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-1536x982.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-2048x1310.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-1650x1055.jpg 1650w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-2-110x70.jpg 110w" sizes="(max-width: 323px) 100vw, 323px" /><br /> A bus in Dakar, Senegal, photograph by Dr. Alexey Yakovlev (April 22, 2015), <a href="https://www.flickr.com/photos/30628571@N04/49332481098">https://www.flickr.com/photos/30628571@N04/49332481098</a>.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Allen F. Roberts and Mary Nooter Roberts, “A Saint in the City: Sufi Arts of Urban Senegal,” in <em>African Arts</em> 35:4 (winter 2002), pp. 52-73 and 93-96.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8068 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-3-214x300.jpg" alt="" width="189" height="266" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-3-214x300.jpg 214w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-3-729x1024.jpg 729w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-3-768x1078.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-3-1094x1536.jpg 1094w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-3-912x1280.jpg 912w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-3.jpg 1158w" sizes="(max-width: 189px) 100vw, 189px" /><br /> Jules Cheret, <em>Folies-Bergère La Loïe Fuller</em> (1893). Lithograph, printed in color, 48½ x 34½” (123.2 x 87.6 cm). Acquired by Exchange. Digital Image with permission from / © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Stéphane Mallarmé, “Considérations sur l’art du Ballet et la Loïe Fuller,” in <em>National Observer</em> 9:234 (May 13, 1893), p. 652 and <em>Sonnets & Sonatas,</em> a series of lecture concerts organized by <a href="https://elts.ucla.edu/person/laure-murat/">Laure Murat</a> at the Hammer Museum (June 6, 2014), <span style="font-weight: 400;">https://channel.hammer.ucla.edu/video/1268/music-readings-and-screenings-of-the-belle-epoque-era</span> (see 1:16:50-1:24:55).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8069 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-4-300x200.jpg" alt="" width="306" height="203" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-4-300x200.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-4.jpg 640w" sizes="(max-width: 306px) 100vw, 306px" /><br /> Image of <em>Mémento</em> (2009) by KompleX KapharnaüM. © Vincent Muteau. With permission from the artists.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="http://komplex-kapharnaum.net/fr/projets/memento-2009">http://komplex-kapharnaum.net/fr/projets/memento-2009</a>, <a href="https://vimeo.com/kxkm">https://vimeo.com/kxkm</a> and <a href="https://elts.ucla.edu/person/lia-brozgal/">Lia Brozgal</a>, <em>Absent the Archive: Cultural Traces of a Massacre in Paris, 17 October 1962</em> (Liverpool: Liverpool University Press, 2020), <a href="https://www.liverpooluniversitypress.co.uk/doi/book/10.3828/9781789622386">https://www.liverpooluniversitypress.co.uk/doi/book/10.3828/9781789622386</a>.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="alignnone wp-image-8070" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-5-300x232.jpg" alt="" width="271" height="209" /><br /> Kid Kréol & Boogie. Image of work from Facebook (August 19, 2019). La Réunion.<a href="https://www.facebook.com/kidkreol.boogie/photos/a.2075257075850092/3054914777884312/?type=3&theater">https://www.facebook.com/kidkreol.boogie/photos/</a>. With permission from the artists.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://vimeo.com/314493280">https://vimeo.com/314493280</a>, <a href="https://www.instagram.com/kidkreol.boogie/">https://www.instagram.com/kidkreol.boogie/</a> and Magali Compan, “Deeply Rooted in the Present: Contemporary Street Art and Palimpsest Memories on Réunion Island,” in <em>International Journal of Francophone Studies</em> 20:3-4 (2017), pp. 161-182.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8071 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-6-233x300.jpg" alt="" width="194" height="250" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-6-233x300.jpg 233w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-6-797x1024.jpg 797w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-6-768x987.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-6-1195x1536.jpg 1195w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-6-996x1280.jpg 996w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-6.jpg 1275w" sizes="(max-width: 194px) 100vw, 194px" /><br /> A.J. Defehrt, design: Camera Obscura, from <em>Encyclopédie</em> (1762-1777). Engraving on cream laid paper. The Art Institute of Chicago.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://encyclopedie.uchicago.edu/">https://encyclopedie.uchicago.edu/</a> and Jonathan Crary, <em>Techniques of the Observer: On Vision and Modernity in the Nineteenth Century</em> (Cambridge, MA: MIT Press, 1990).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8072 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-7-223x300.jpg" alt="" width="188" height="252" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-7-223x300.jpg 223w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-7.jpg 696w" sizes="(max-width: 188px) 100vw, 188px" /><br /> RAJA de l’emballage, Festival International de la Bande Dessinée d’Angoulême (2018), event poster. © Cosey 2018 / 9eArt+. With permission from the artist.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.comicsbeat.com/the-beat-staff-schedule-in-angouleme-2018/">https://www.comicsbeat.com/the-beat-staff-schedule-in-angouleme-2018/</a> and Thierry Groensteen, “Narration as Supplement: An Archaeology of the Infra-Narrative Foundations of Comics” [French: “La narration comme supplément. Archéologie des fondations infra-narratives de la bande dessinée,” 1988], in <em>The French Comics Theory Reader</em>, ed. Ann Miller and Bart Beaty (Leuven: Leuven University Press, 2014), pp. 163-181.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8073 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-232x300.jpg" alt="" width="183" height="237" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-232x300.jpg 232w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-791x1024.jpg 791w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-768x994.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-1187x1536.jpg 1187w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-1583x2048.jpg 1583w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-8-989x1280.jpg 989w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-8.jpg 1700w" sizes="(max-width: 183px) 100vw, 183px" /><br /> François Rabelais, “Le cinquiesme et dernier livre des faicts et dicts héroïques du bon Pantagruel,” in <em>Œuvres Complètes,</em> ed. Mireille Huchon, with the collaboration of François Moreau (Paris: Gallimard, 1994), p. 831.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Dick Higgins, <em>Pattern Poetry: Guide to an Unknown Literature</em> (Albany: State University of New York, 1986).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8074 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-300x204.jpg" alt="" width="301" height="205" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-300x204.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-1024x697.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-768x523.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-1536x1046.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-2048x1394.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-9-1650x1123.jpg 1650w" sizes="(max-width: 301px) 100vw, 301px" /><br /> CERN Large Hadron Collider – Atlas Building (mural unveiled in 2010, photograph from 2012).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://home.cern/news/press-release/cern/atlas-collaboration-cern-unveils-giant-mural">https://home.cern/news/press-release/cern/atlas-</a><a href="https://home.cern/news/press-release/cern/atlas-collaboration-cern-unveils-giant-mural">collaboration-cern-unveils-giant-mural</a>.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8075 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-300x232.jpg" alt="" width="292" height="226" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-300x232.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-1024x791.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-768x593.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-1536x1187.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-2048x1583.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/French-10-1650x1275.jpg 1650w" sizes="(max-width: 292px) 100vw, 292px" /><br /> <em>Toute la mémoire du monde</em>, directed by Alain Resnais, © 1956 Les Films de la Pléiade. With permission from Les Films du Jeudi.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Laura Marcus, “The Library in Film: Order and Mystery,” in T<em>he Meaning of the Library: A Cultural History</em>, ed. Alice Crawford (Princeton and Oxford: Princeton University Press, 2015), pp. 199-220 and “The Borgesian Labyrinth of Alain Resnais and Henri Labrouste,” in <em>The Funambulist</em> <a style="background-color: #ffffff;" href="https://thefunambulist.net/architectural-projects/cinema-the-borgesian-labyrinth-of-alain-resnais-and-henri-labrouste.">https://thefunambulist.net/</a>.</li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>German</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8116 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-2-1-300x177.jpg" alt="" width="308" height="182" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-2-1-300x177.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-2-1-768x452.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-2-1.jpg 937w" sizes="(max-width: 308px) 100vw, 308px" /><br /> From left, Capt. Macintosh of the British Army translates from French into English, while Margot Bortlin translates from German into English and Lt. Ernest Peter Uiberall monitors the translations at the Nuremberg trials after World War II. With permission from US National Archives, College Park, MD.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Cornelia Vismann, “Breaks in Language at the Nuremberg Trials” [German: “Sprachbrüche im Nürnberger Kriegsverbrecherprozess,” 2004] translation draft by Kerstin Schroer and Susan Schuppli (June 2011), pp. 2-18, <a href="http://law.unimelb.edu.au/__data/assets/pdf_file/0007/2088844/cornelia-vismann-on-language-breaks-at-nuremberg.pdf">http://law.unimelb.edu.au/__data/assets/pdf_file/0007/2088844/cornelia-vismann-on-language-breaks-at-nuremberg.pdf</a>.</li> </ul> </li> </ul> </li> </ul> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8085 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1-300x172.jpg" alt="" width="331" height="190" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1-300x172.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1-1024x586.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1-768x440.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1-1536x880.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1-1650x945.jpg 1650w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-3-1.jpg 1884w" sizes="(max-width: 331px) 100vw, 331px" /><br /> belit sağ, (<em>Ge</em>g<em>en</em>) <em>die Willkür</em>… (2017), part of “SPOTS: Audiovisual Micro-Interventions for TRIBUNAL ‘Unraveling the NSU Complex’ and beyond” (German: “SPOTS zum TRIBUNAL ‘NSU-Komplex auflösen’ und darüber hinaus”), <a href="http://tribunal-spots.net/de/spots/11/#.">http://tribunal-spots.net/de/spots/11/#.</a></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://forensic-architecture.org/programme/events/tribunal-unravelling-the-nsu-complex">https://www.nsu-tribunal.de/en/nsu-komplex/#newsmodal</a>.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8086 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-11-300x236.jpg" alt="" width="279" height="220" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-11-300x236.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-11-1024x805.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-11-768x604.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-11.jpg 1143w" sizes="(max-width: 279px) 100vw, 279px" /><br /> Rudolph M. Schindler House, 833 North Kings Road, Los Angeles, Los Angeles County, CA, 1969. Historic American Building Survey, Library of Congress HABS CAL, 19-LOSAN, 68.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://makcenter.org/sites/schindler-house/">https://makcenter.org/sites/schindler-house/</a>, Robert Sweeney and Judith Sheine, <em>Schindler, Kings Road, and Southern California Modernism</em> (Berkeley and Los Angeles: University of California Press, 2012) and Ehrhard Bahr, <em>Weimar on the Pacific: German Exile Culture in Los Angeles and the Crisis of Modernism</em> (Berkeley: University of California Press, 2008).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8088 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-5-300x176.jpg" alt="" width="297" height="174" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-5-300x176.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-5-1024x599.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-5-768x450.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-5.jpg 1481w" sizes="(max-width: 297px) 100vw, 297px" /><br /> Maren Kames, <em>Halb Taube, halb Pfau</em> (Berlin: Secession Verlag, 2016), <a href="https://halb-taube-halb-pfau.com/">https://halb-taube-halb-pfau.com/</a>. © Image: Maxie Fischer, © Text: Maren Kames. With permission from Maren Kames.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Hanna Engelmeier, “Halb Buch, halb QR-Code. Mit Maren Kames am Lyriktelefon,” in <em>Zeitschrift für Medienwissenschaft</em> 11:21 (February 2019), pp. 122-132. <a href="https://www.zfmedienwissenschaft.de/heft/text/halb-buch-halb-qr-code">https://www.zfmedienwissenschaft.de/heft/text/halb-buch-halb-qr-code</a>.</li> </ul> </li> </ul> </li> </ul> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8089 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-6-300x151.jpg" alt="" width="337" height="169" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-6-300x151.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-6-768x386.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-6.jpg 840w" sizes="(max-width: 337px) 100vw, 337px" /><br /> Sergei Eisenstein and Salka Viertel on the beach in Santa Monica, early 1930s. With permission from Wienbibliothek im Rathaus.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Donna Rifkind, <em>The Sun and Her Stars: Salka Viertel and Hitler’s Exiles in the Golden Age of Hollywood</em> (New York: Other Press, 2020).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8090 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-7-232x300.jpg" alt="" width="209" height="270" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-7-232x300.jpg 232w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-7-792x1024.jpg 792w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-7-768x993.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-7.jpg 910w" sizes="(max-width: 209px) 100vw, 209px" /><br /> Peter Hintz, “Adorno beim Eis essen,” tweet on July 20, 2020. Reworked photograph of Theodor W. Adorno, “Self in mirror,” 1964.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: Gerhard Richter, “A Portrait of Non-Identity,” in <em>Monatshefte</em> 94:1 (spring 2002: “Rereading Adorno”), pp. 1-9 and Peter Geimer, “Image as Trace: Speculations about an Undead Paradigm” [German: “Das Bild als Spur. Mutmassung über ein untotes Paradigma,” 2007], trans. Kata Gellen, in: <em>Differences</em> 18:1 (2007), pp. 7-28.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8091 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-9-1-300x219.jpg" alt="" width="275" height="200" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-9-1-300x219.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-9-1-1024x747.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-9-1-768x560.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-9-1.jpg 1480w" sizes="(max-width: 275px) 100vw, 275px" /><br /> Eva Knopf, <em>Majubs Reise</em> (2013), film still. With permission from director.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.youtube.com/watch?v=M25z2Ezh2Ds">https://www.youtube.com/watch?v=M25z2Ezh2Ds</a>, Eva Knopf, “Die Suche nach Mohamed Husen im kolonialen Archiv: Ein unmögliches Projekt,” in <em>Archive Dekolonialisieren:</em> <em>Mediale und Epistemische Transformationen in Kunst, Design und Film</em>, ed. Eva Knopf, Sophie Lembcke and Mara Recklies (Berlin: transcript, 2018), pp. 83-106 and Marianne Bechhaus-Gerst, <em>Treu bis in den Tod</em>. <em>Von Deutsch-Ostafrika nach Sachsenhausen. Eine Lebensgeschichte</em> (Berlin: Links Verlag, 2007).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8092 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/German-10-300x198.jpg" alt="" width="291" height="192" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/German-10-300x198.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/German-10.jpg 587w" sizes="(max-width: 291px) 100vw, 291px" /><br /> Vaginal Davis, <em>Rising Stars, Falling Stars – We Must Have Music! </em>(2012-present), poster. Part of Living Archive Project at Cinema Arsenal in Berlin. With permission from Jeffrey Hilbert/Flagrant Media.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.arsenal-berlin.de/en/living-archive/about-living-archive/the-project.html">https://www.arsenal-berlin.de/en/living-archive/about-living-archive/the-project.html</a>, Marc Siegel, “Vaginal Davis’s Gospel Truths,” in <em>Camera Obscura</em> 23:1 (2008), pp. 151-59 and José Esteban Muñoz, “‘The White to Be Angry’: Vaginal Davis’s Terrorist Drag,” in <em>Social Text</em> 52/53 (autumn-winter 1997), pp. 80-103.</li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>Italian</strong></h2> <h1 style="text-align: left;"></h1> <p><strong><img loading="lazy" decoding="async" class="alignnone wp-image-8094" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-1-e1606947473839-300x136.jpg" alt="" width="330" height="150" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-1-e1606947473839-300x136.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-1-e1606947473839-1024x463.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-1-e1606947473839-768x347.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-1-e1606947473839.jpg 1199w" sizes="(max-width: 330px) 100vw, 330px" /> </strong><br /> Italian keyboard layout.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: James J. Brown Jr. and Nathaniel A. Rivers, “Encomium of QWERTY,” in <em>Rhetoric Through Everyday Things</em>, ed. Scot Barnett and Casey Boyle (Tuscaloosa: The University of Alabama Press, 2016), pp. 212-225.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8095 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2-300x145.jpg" alt="" width="349" height="168" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2-300x145.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2-1024x493.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2-768x370.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2-1536x740.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2-1650x795.jpg 1650w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-2.jpg 1920w" sizes="(max-width: 349px) 100vw, 349px" /><br /> Ambrogio Lorenzetti, <em>Effects of Good Government in the City</em> (1338-1339). Fresco.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.wga.hu/html_m/l/lorenzet/ambrogio/governme/index.html">https://www.wga.hu/html_m/l/lorenzet/ambrogio/governme/</a> and Nicolai Rubinstein, “Political Ideas in Sienese Art: The Frescoes by Ambrogio Lorenzetti and Taddeo di Bartolo in the Palazzo Pubblico,” in <em>Journal of the Warburg and Courtauld Institutes</em> 21:3-4 (July-December 1958), pp. 179-207.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8096 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-4-300x193.jpg" alt="" width="303" height="195" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-4-300x193.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-4-768x495.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-4-110x70.jpg 110w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-4.jpg 1024w" sizes="(max-width: 303px) 100vw, 303px" /><br /> Postcard: “A gondolier rows through one of Venice of America’s original canals, now a paved roadway.” With permission from Metro Transportation Research Library and Archive Collection.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.kcet.org/shows/lost-la/the-lost-canals-of-venice-of-america">https://www.kcet.org/shows/lost-la/the-lost-canals-of-venice-of-america</a> and Bernhard Siegert<em>, Relays: Literature as an Epoch of the Postal System</em> [German: <em>Relays – Geschichte der Literatur als Epoche der Post 1751-1913</em>, 1993], trans. Kevin Repp (Stanford: Stanford University Press, 1999).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8097 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-5-232x300.jpg" alt="" width="204" height="264" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-5-232x300.jpg 232w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-5.jpg 629w" sizes="(max-width: 204px) 100vw, 204px" /><br /> Book cover of <em>Transito. Elvira Notari – Kino der Passage</em>, ed. Heide Schlüpmann and Fabian Tietke (Frankfurt am Main: Kinothek Asta Nielsen, 2017). With permission from the editor.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: see above edited volume by Schlüpmann and Tietke as well as <a href="https://wfpp.columbia.edu/pioneer/ccp-elvira-notari/">https://wfpp.columbia.edu/pioneer/ccp-elvira-notari/</a>.</li> </ul> </li> </ul> </li> </ul> <p style="text-align: left;"><img loading="lazy" decoding="async" class="wp-image-8098 alignnone" style="font-weight: 600;" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-300x225.jpg" alt="" width="275" height="206" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-300x225.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-1024x769.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-768x577.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-1536x1154.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-2048x1539.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/Italian-image-7-1-1650x1240.jpg 1650w" sizes="(max-width: 275px) 100vw, 275px" /><br /> Giorgio Moroder at the Melt! in Ferropolis/Germany, photograph by Stefan Bollmann (2015).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li style="text-align: left;">Learn more: Robert Fink, <em>Repeating Ourselves: American Minimal Music as Cultural Practice</em> (Berkeley: University of California Press, 2005).</li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>Swedish</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8103 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-300x228.jpg" alt="" width="272" height="206" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-300x228.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-1024x779.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-768x585.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-1536x1169.jpg 1536w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-2048x1559.jpg 2048w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-1-1650x1256.jpg 1650w" sizes="(max-width: 272px) 100vw, 272px" /><br /> Set of <em>Cries and Whispers</em> (1972) with Liv Ullmann, Sven Nykvist, Ingmar Bergman and Ingrid Thulin. © Bo-Erik Gyberg/AB Svensk Filmindustri (1972). With permission from the Swedish Film Institute.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.ingmarbergman.se/en">https://www.ingmarbergman.se/en</a> and <a href="https://elts.ucla.edu/person/arne-lunde/">Arne Lunde</a>, “The Story of a Bad Girl!: <em>Summer with Monika</em>, Sexploitation and the Selling of Erotic Bergman in America,” in <em>Beyond Swedish Summers: The Breakthrough of Sexuality in Swedish Cinema</em>, ed. Elisabet Björklund and Mariah Larsson (Jefferson, NC: McFarland, 2016), pp. 11-20.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8104 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-232x300.jpg" alt="" width="198" height="255" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-232x300.jpg 232w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-791x1024.jpg 791w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-768x994.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-1187x1536.jpg 1187w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-1583x2048.jpg 1583w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7-989x1280.jpg 989w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-7.jpg 1700w" sizes="(max-width: 198px) 100vw, 198px" /><br /> <a href="https://www.flickr.com/photos/jumborois/3500713681/in/photostream/"><span style="font-weight: 400;">Greta Garbo in German film poster for </span><i><span style="font-weight: 400;">Ninotchka </span></i></a><span style="font-weight: 400;">(1939), directed by Ernst Lubitsch. </span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://elts.ucla.edu/person/arne-lunde/">Arne Lunde</a>, “‘Garbo Talks!’: Scandinavians, the Talkie Revolution, and the Crisis of Foreign Voice,” in </span><i><span style="font-weight: 400;">Nordic Exposures</span></i><span style="font-weight: 400;">: </span><i><span style="font-weight: 400;">Scandinavian Identities in Classical Hollywood Cinema </span></i><span style="font-weight: 400;">(Seattle and London: University of Washington Press, 2010), pp. 90-116 and Rick McCormick, </span><i><span style="font-weight: 400;">Sex</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Politics</span></i><span style="font-weight: 400;">,</span><i><span style="font-weight: 400;"> and Comedy: The Transnational Cinema of Ernst Lubitsch </span></i><span style="font-weight: 400;">(Bloomington: Indiana University Press, 2020). </span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8105 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-3-300x204.jpg" alt="" width="293" height="199" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-3-300x204.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-3-1024x698.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-3-768x523.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-3.jpg 1500w" sizes="(max-width: 293px) 100vw, 293px" /><br /> Pontus Hultén in the exhibition <i>Önskemuseet</i>, Moderna Museet (1963). Photograph by Anders Engman/TT/Sipa USA. With permission from TT/Sipa USA.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.modernamuseet.se/stockholm/en/the-collection/history/">https://www.modernamuseet.se/stockholm/en/the-collection/history/</a>, Hans<i>–</i>Ulrich Obrist and Pontus Hultén, “The Hang of It” (interview), in <i>Artforum</i> 36:8 (April 1997), pp. 74-79 and <i>The History Book: On Moderna Museet 1958-2008</i>, ed. Anna Tellgren (Stockholm and Göttingen: Moderna Museet and Steidl Verlag, 2008).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8106 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-4-300x212.jpg" alt="" width="286" height="201" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-4-300x212.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-4.jpg 609w" sizes="(max-width: 286px) 100vw, 286px" /><br /> <i>Duett För Kannibaler AKA Duet for Cannibals</i> (1969), directed by <a href="http://www.popscreen.com/prod/MTU4OTk4NDMw/Susan-Sontag-Duett-f%C3%B6r-kannibaler-AKA-Duet-for-Cannibals-1969">Susan Sontag</a>, film still. With permission from the Swedish Film Institute.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://www.cinema.ucla.edu/events/2020/02/07/sontag-from-the-archive-duet-for-cannibals">https://www.cinema.ucla.edu/events/2020/02/07/sontag-from-the-archive-duet-for-cannibals</a> and Sohnya Sayres, <i>Susan Sontag: The Elegiac Modernist</i> (London and New York: Routledge, 1990).</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8107 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-300x300.jpg" alt="" width="204" height="204" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-300x300.jpg 300w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-1024x1024.jpg 1024w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-150x150.jpg 150w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-768x768.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-280x280.jpg 280w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6-125x125.jpg 125w, https://elts.ucla.edu/wp-content/uploads/2020/10/Swedish-image-6.jpg 1080w" sizes="(max-width: 204px) 100vw, 204px" /><br /> <i>Gorilla </i>1 (“Konst, Media”) (Stockholm: Bonniers 1966), calendar, ed. Torsten Ekbom, Björn Håkanson, Leif Nylén and Torkel Rasmusson.</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: Jesper Olsson, “Rondo and Gorilla – Magazine and Calendar,” in </span><i><span style="font-weight: 400;">A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975</span></i><span style="font-weight: 400;">, ed. Tania Ørum (Leiden and Boston: Brill Rodopi, 2016), pp. 195-201 and Gwen Allen, </span><i><span style="font-weight: 400;">Artists’ Magazines: An Alternative Space for Art</span></i><span style="font-weight: 400;"> (Cambridge, MA: MIT Press, 2011). </span></li> </ul> </li> </ul> </li> </ul> <hr /> <h2 style="text-align: left;"><strong>Yiddish</strong></h2> <p> </p> <p><img loading="lazy" decoding="async" class="wp-image-8108 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-1-221x300.jpg" alt="" width="172" height="234" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-1-221x300.jpg 221w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-1.jpg 640w" sizes="(max-width: 172px) 100vw, 172px" /><br /> <span style="font-weight: 400;">Soviet Union postage stamp commemorating the centennial of Sholem Aleichem’s birth (1959). </span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: </span><a href="http://sholemaleichem.org/"><span style="font-weight: 400;">http://sholemaleichem.org/</span></a><span style="font-weight: 400;"> and Joshua S. Walden, “The ‘Yidishe Paganini’: Sholem Aleichem’s ‘Stempenyu’, the Music of Yiddish Theatre and the Character of the ‘Shtetl’ Fiddler,” in </span><i><span style="font-weight: 400;">Journal of the Royal Musical Association</span></i><span style="font-weight: 400;"> 139:1 (2014), pp. 89-136.</span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8110 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-2-1-239x300.jpg" alt="" width="162" height="203" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-2-1-239x300.jpg 239w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-2-1.jpg 365w" sizes="(max-width: 162px) 100vw, 162px" /><br /> <span style="font-weight: 400;">Cover of </span><i><span style="font-weight: 400;">Milgroim </span></i><span style="font-weight: 400;">(September 10, 1922), vol. 2, ed. Mark Wischnitzer, Rachel Bernstein-Wischnitzer and M. Kleinman, Berlin. </span></p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: </span><a href="https://web.nli.org.il/sites/NLI/English/collections/personalsites/Israel-Germany/Weimar-Republic/Pages/Rimon-Milgroim.aspx"><span style="font-weight: 400;">https://web.nli.org.il/sites/NLI/English/collections/</span></a><a href="https://web.nli.org.il/sites/NLI/English/collections/personalsites/Israel-Germany/Weimar-Republic/Pages/Rimon-Milgroim.aspx"><span style="font-weight: 400;">personalsites/Israel-Germany/Weimar-Republic/Pages/Rimon-Milgroim</span></a><span style="font-weight: 400;">,</span><br /> <a href="https://ingeveb.org/issues/the-milgroym-project"><span style="font-weight: 400;">https://ingeveb.org/issues/the-milgroym-project</span></a><span style="font-weight: 400;"> and </span><a href="http://jpress.org.il/Olive/APA/NLI/?action=tab&tab=browse&pub=MGM&_ga=2.19760184.1224091592.1598036245-1593295740.1598036245#panel=browse"><span style="font-weight: 400;">http://jpress.org.il/Olive/APA/NLI/</span></a><span style="font-weight: 400;">. </span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8111 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-3-255x300.jpg" alt="" width="178" height="210" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-3-255x300.jpg 255w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-3-872x1024.jpg 872w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-3-768x902.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-3-1089x1280.jpg 1089w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-3.jpg 1092w" sizes="(max-width: 178px) 100vw, 178px" /><br /> Molly Picon (1958).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://jwa.org/encyclopedia/article/picon-molly">https://jwa.org/encyclopedia/article/picon-molly</a>, J. Hoberman, <i>Bridge of Light</i>: <i>Yiddish Film between Two Worlds</i> (New York: Schocken, 1991) and Debra Caplan, <i>Yiddish Empire: The Vilna Troupe, Jewish Theater, and the Art of Itinerancy</i> (Ann Arbor: University of Michigan Press, 2018).</span></li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8112 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-192x300.jpg" alt="" width="158" height="246" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-192x300.jpg 192w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-655x1024.jpg 655w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-768x1201.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-982x1536.jpg 982w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-1310x2048.jpg 1310w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-819x1280.jpg 819w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-4-1-scaled.jpg 1637w" sizes="(max-width: 158px) 100vw, 158px" /><br /> Cover of <i>Di Tsukunft</i> (<i>The Future</i>) (October 6, 1917), ed. Abraham Liessin, published by the Forward Association (publishers of the <i>Forverts</i>).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a style="background-color: #ffffff;" href="https://www.jewishvirtuallibrary.org/tsukunft"><span style="font-weight: 400;">https://www.jewishvirtuallibrary.org/tsukunft</span></a>, <a style="background-color: #ffffff;" href="https://catalog.hathitrust.org/Record/000523251"><span style="font-weight: 400;">https://catalog.hathitrust.org/Record/000523251</span></a> and Tony Michels, “‘Speaking to Moyshe’: The Early Socialist Yiddish Press and Its Readers,” in <i>Jewish History</i> 14:1 (2000), pp. 51-82.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8113 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-5-218x300.jpg" alt="" width="159" height="218" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-5-218x300.jpg 218w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-5-744x1024.jpg 744w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-5-768x1057.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-5-930x1280.jpg 930w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-5.jpg 1023w" sizes="(max-width: 159px) 100vw, 159px" /><br /> Chava Alberstein, photograph by Ilan (2007).</p> <ul> <li style="list-style-type: none;"> <ul> <li style="list-style-type: none;"> <ul> <li>Learn more: <a href="https://jwa.org/encyclopedia/article/alberstein-chava">https://jwa.org/encyclopedia/article/alberstein-chava</a> and Simon Broughton and Chava Alberstein, “The ‘Joan Baez of Israel’: Simon Broughton talks to Chava Alberstein,” in <i>Jewish Quarterly</i> 43:4 (1996), pp. 55-56.</li> </ul> </li> </ul> </li> </ul> <p><img loading="lazy" decoding="async" class="wp-image-8114 alignnone" src="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6-234x300.jpg" alt="" width="166" height="212" srcset="https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6-234x300.jpg 234w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6-800x1024.jpg 800w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6-768x983.jpg 768w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6-1200x1536.jpg 1200w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6-1000x1280.jpg 1000w, https://elts.ucla.edu/wp-content/uploads/2020/10/Yiddish-image-6.jpg 1439w" sizes="(max-width: 166px) 100vw, 166px" /><br /> <span style="font-weight: 400;">Cover of </span><i><span style="font-weight: 400;">Rimon </span></i><span style="font-weight: 400;">(September 10, 1922), ed. Mark Wischnitzer, Rachel Bernstein-Wischnitzer, Moshe Kleinman and Baruch Krupnik, Berlin.<br /> </span></p> <ul> <li style="list-style-type: none;"> <ul> <li><span style="font-weight: 400;">Learn more: <a href="https://ingeveb.org/blog/milgroym-and-rimon-fraternal-twins">https://ingeveb.org/blog/milgroym-and-rimon-fraternal-twins</a> and <a href="http://jpress.org.il/Olive/APA/NLI/?action=tab&tab=browse&pub=RMN&_ga=2.19653488.990397205.1598038861-534917864.1598038861#panel=document">http://jpress.org.il/Olive/APA/NLI/</a>.</span></li> <li style="list-style-type: none;"></li> </ul> </li> </ul> </section> </article> </div> </div> <footer role="contentinfo"> <div class="content"> <form role="search" method="get" class="search-form" action="https://elts.ucla.edu/"> <label class="hidden">Search</label> <input type="search" class="search" placeholder="Search…" value="" name="s" title="Search for:" autocomplete="off" /> <button type="submit" class="search-btn" aria-label="Submit 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