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2: A PHYSICAL METAPHOR The changing rhetoric around a wall The Berlin Wall was a frequent actor in rhetoric between the two blocs but how it was used changed somewhat over its existence. Maybe not too surprisingly the media in East Germany blamed the construction of the Berlin Wall on the actions of the West but during the early period after the wall had been constructed there was also debate in the Western press about whether the wall was a result of a western failure as not enough had been done to stop the construction (Bruner 1989:321). This attitude changed, however, and in his 1963 speech Kennedy claims “… we have never had to put a wall up to keep our people in, to prevent them from leaving us” (cited in Bruner 1989:324) suggesting that the wall was in fact proof of eastern failures. Also during Reagan’s speech in Berlin in 1987 the wall is used as evidence of failure of the Soviet Union and victory of the West (Bruner 1989:325). During its later years the way the wall was instead portrayed more as an anachronism, emphasising the absurdity in its existence (Bruner 1989:325). In contrast in East Germany the fortified border with the capitalist West became the focal point during celebration ceremonies (Figure 2). Following its fall it instead became a symbol of freedom and the victory of the people on both sides. This meaning of freedom has also come to extend outside the Cold War context and images of the fall of the Berlin Wall has found its way into other settings such as for example during the 2003 invasion of Iraq where images of the fall of the Berlin Wall was used in news coverage to illustrate images of liberation (Manghani 2008:59). The picture of the Berlin Wall has become a recurring image in the media and was constantly used to represent the ideological divisions in Berlin and in Europe. Critical theorist Sunil Manghani (2008) makes the point that the media images of the fall of the Berlin Wall were not used to critically investigate the exact goings on but rather they were used to maintain an already popular and dominant interpretation of the events (Manghani 2008:59). Although Manghani has studied images of the events of 1989 in Berlin rather than the erection of the wall in 1961 his discussions can also be extended to how previous images of the Berlin Wall were used. It demonstrates how powerful images can be and how prevailing the story they convey can become. Manghani also uses other examples to show how this type of reporting, and in effect also history writing, is constantly occurring in other places, such as the toppling of the Saddam Hussein statue in Baghdad’s Firdos Square in the summer of 2003. This event was immediately broadcasted across the globe and even if the toppling of this statue 35
AN ARCHAEOLOGY OF THE IRON CURTAIN was not of particular importance as such the fact that it happened right in front of media cameras made it a major event and instantly referred to as an historic event (Manghani 2008:60). Figure 2: East German parade as part of the celebration of 25 years of the Antifaschistische Schutzwall in 1986. Photo: German Federal Archives (Reference: Bild 183-1986-0813-460). There are some images that just reach us, that sneak under our skin and come to represent a whole event. These are what Benjamin Drechsel, specialist in political iconography, calls ‘key visuals’ as they have the ability to project a powerful narrative and become symbols of a particular event (Drechsel 2010:17). The image of a naked girl, Kim Phuc, running in the streets following a napalm bomb being dropped on her village, came to represent the whole Vietnam War. The image was published in the New York Times (1972) and was later awarded a Pulitzer Prize (The Kim Foundation website). Images like this come to affect the way we remember events but also the places where 36
Page 1 and 2: An Archaeology of the Iron Curtain
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Page 8 and 9: Contents Acknowledgements 11 CHAPTE
Page 10: The end of a journey 212 Sammanfatt
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Page 16 and 17: CHAPTER 1 Introduction Standing on
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Page 30 and 31: 1: INTRODUCTION World War II dividi
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Page 40 and 41: 2: A PHYSICAL METAPHOR As time has
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AN ARCHAEOLOGY OF THE IRON CURTAIN
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CHAPTER 5 Case Study 2 The Czech/Au
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5: CASE STUDY 2: THE CZECH/AUSTRIAN
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Figure 55: Bunker near the crossing
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Figure 59: Military map from 1980 o
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Figure 77-78: Painting inside the f
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CHAPTER 6 An archaeology of the Iro
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6: AN ARCHAEOLOGY OF THE IRON CURTA
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Figure 102: Fence and Watch Tower a
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Sammanfattning (Summary in Swedish)
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SAMMANFATTNING En fysisk metafor I
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SAMMANFATTNING komst och kunskapsf
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SAMMANFATTNING Fältstudier av läm
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SAMMANFATTNING som försöker ta si
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SAMMANFATTNING mets dilemma”. Han
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Södertörn Doctoral Dissertations
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33. Sofie Bedford, Islamic activism
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67. Anne Kaun, Civic Experiences an
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Stockholm Studies in Archaeology Se
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29. LINDGREN, Christina. 2004. Män
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The Iron Curtain was seen as the di
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