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Loại tài liệu:
Article
Tác giả:
Ryan, Michael P.
Đề mục:
Drama
Nhà xuất bản:
Johns Hopkins University Press, Baltimore, United states
Ngày xuất bản:
2013
Định dạng:
pdf
Nguồn gốc:
German Studies Review, Volume 36, Issue 2, 2013, pages 259-279
Ngôn ngữ:
eng
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It will likely not surprise that radio was often symbolized in wireless culture with themes and images of outer space. Long-forgotten novels like Paul Rosenhayn's Der Ruf aus dem Aether (The Call from the Ether, 1924), tell the story of a man who receives radio messages from outer space. The novel catastrophizes an alien broad- cast's penetration of the home; this means that within the popular imaginary, radio sound-Elektro-Akustik-was not merely penetrating, it was alien (ating). Similarly, Rudolf Leonhard's poem, "Radio" (1928), depicts sound broadcast as "das ganze Meer des Alls" ("the entire ocean/sea of outer space");31 but one does not merely listen to the oceans of space deployed by sound broadcast, one swallows it: "Das ganze All, In mich ein-!" ("All of outer space, into me!").32 Radiofimmel's black dissolve likewise means to represent radio as the ether par excellence. In turn, the film emphasizes the ether setting via the ball of light that appears off in the darkness. German radio culture created an entire network of interconnected symbolism; hence, radio was not merely represented as a means of interplanetary communication but also as the very center of our universe, that is, the sun. Broadcast during the very early days of public radio, Hans Brennert's poem, "Dem neuen Roland" ("To the new Roland," 1924), revels in the newly erected system of public broadcast and shouts: "Berlin -! - Berlin in light - Berlin in the sunshine."33 Similarly, Walter Bloem's 1924 poem, which was written and broadcast for the first annual commemoration of public broadcast in Germany, declares that ordinary listeners are not to be found at the receiving end of each radio transmission but rather Germany's "Sonnenkinder" ("children of the sun").34 Consequently, with a black dissolve (i.e., outer space) and a ball of light (i.e., the sun), Radiofimmel outfits itself with recognizable radio symbolism, and then punctuates its radiophonie nature via the superimposition of a young boy's head over a radio receiver: disembodiment is crucial to most any radio aesthetic

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