Imre Kertész Kolleg Jena

Cultures of History Forum

Here we provide a preview of our latest publications. Follow this link to the Cultures of History Forum's website to get access to all our articles.

Secret agent as Soviet superhero: Vyacheslav Tikhonov as Max Otto von Stierlitz in the Soviet TV series ‘Seventeen Moments of Spring’

Politics of History

The Pop-Cultural Lineage of Russia’s Anti-Fascist Discourse

Unravelling the Plot of Russia’s War on Ukraine

Violeta Davoliūtė ·

While Putin’s plan to launch a full-scale invasion of Ukraine has been widely understood as irrational, it is entirely consistent with the “anti-fascist” discourse of his regime. The article discusses how this discourse draws on the political and cultural neo-traditionalism crystalized in 1970s Soviet TV serials that vilified the West, defined a new Soviet war hero, and nurtured a cryptic fascination with Nazism.

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Main cast of the TV series “The Ninetees”

Exhibiting 20th Century History

‘The Nineties’ on TV

Remembering the Transformation Era in Czech Popular Culture

Veronika Pehe ·

A new prime-time show on Czech public television entitled 'Devadesátky' (‘The Nineties’) has turned out to be vastly popular and triggered a lively public debate. In six episodes, the series reconstructs the most notorious cases of violent, organized crime during the first post-socialist decade in the Czech Republic. The article reflects on the TV series’ popularity and what it tells us about public memory and narratives of the turbulent post-1989 period in Czech society.

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collage; Official film posters of 'Quo vadis, Aida?' (J. Žbanić, 2020) and 'Dara of Jasenovac' (P.G. Antonijević, 2020)

Debating 20th Century History

Representing Trauma

Writing the Past Into the Present Through Films

Nevena Daković ·

Cinematic attempts to tell the story of historical mass violence and trauma in former Yugoslavia are often steeped in political controversy. The article discusses two recent films – ‘Dara of Jasenovac’ (Serbia, 2020) and ‘Quo vadis, Aida?’ (Bosnia-Herzegovina, 2020) – and the public reactions to them. While both films share certain features such as looking at historical horrors and inter-ethnic violence from a female perspective, they differ remarkably in style as well as in how they were received in Serbia and beyond.

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