Philip Broadbent is Assistant Professor in the Department of Germanic Studies at the University of Texas at Austin. He has published on literary representations of post- 1990 Berlin and contemporary European fiction. His current book project looks at the emergence of cool aesthetics in West Germany.

“Eschewing the primacy of political history, the authors provide a nuanced picture of a city that, in many respects, was less divided than the Cold War mindset would have us believe…This interesting volume demonstrates the many ways in which East and West Berlin were mutually influential, and how commonalities extended beyond the division.”  ·  English Historical Review“This volume taps into the on-going fascination with Berlin but, refreshingly, broadens the historical and conceptual scope, asking us to reconsider some of the assumptions we tend to make about the relationship between East and West Berlin during the time of the city’s division…The volume is so well conceived and simply so interesting that most readers will probably want to read it in its entirety…It demonstrates what an essay collection can accomplish when it grows out of a shared discussion. The broad range of topics and the interdisciplinary perspectives presented in this book could not have been achieved by an individual author. The editors deserve praise for the volume’s coherence and consistency.”  ·  The German Quarterly"Adopting an explicitly interdisciplinary approach, this volume ambitiously aims to offer more than just a cultural history of Cold War Berlin…[Its] mix of spatial and chronological demarcations proves insightful inasmuch as the best essays transgress and even undermine them, in effect articulating one of the editors’ stated emphases ‘on the continuities of urban culture beyond historical ruptures and spatial divides"  ·  German History"[An] important contribution to current scholarship on Berlin in the Cold War period. Although this is an anthology, it is well conceived to focus on various aspects of Berlin culture during the years of the Cold War."  ·  Stephen Brockmann, Carnegie Mellon

• List of IllustrationsAcknowledgmentsIntroductionPhilip Broadbent and Sabine HakePART I: COLD WAR BEGINNINGSChapter 1. Life Among the Ruins: Sex, Space, and Subculture in Zero Hour BerlinJennifer EvansChapter 2. The Propagandistic Role of Modern Art in Postwar BerlinMaike SteinkampChapter 3. Back to the Future: New Music’s Revival and Redefinition in Occupied BerlinElizabeth JanikChapter 4. The Nylon Curtain: Architectural Unification in Divided BerlinGreg CastilloChapter 5. Mediascape and Soundscape: Two Landscapes of Modernity in Cold War BerlinHeiner StahlPART II: EAST BERLIN, THE SOCIALIST CAPITALChapter 6. Painting the Berlin Wall in Leipzig: The Politics of Art in 1960s East GermanyApril EismanChapter 7. “You Have to Draw a Line Somewhere”: Tropes of Division in DEFA Films from the early 1960sMariana IvanovaChapter 8. Building the East German Television TowerHeather GumbertChapter 9. Transparency in Divided Berlin: The Palace of the RepublicDeborah Ascher BarnstonePART III: WEST BERLIN, SHOWCASE OF THE WESTChapter 10. “I Still Have a Suitcase in Berlin”: Hildegard Knef’s Cold War MoviesUlrich BachChapter 11. Benno Ohnesorg, Rudi Dutschke, and the Student Movement in West Berlin: Critical Reflections after Forty YearsDavid BarclayChapter 12. Berlin and Post-Meinhof Feminism: Yvonne Rainer’s Journeys from Berlin/1971Claudia MeschChapter 13. Daniel Libeskind’s Jewish Museum in Berlin as a Cold War ProjectPaul JaskotChapter 14. Beyond the Berlin Myth: the Local, the Global and IBA 87Emily PughPART IV: BERLIN AFTER UNIFICATION: LOOKING BACK AND BEYONDChapter 15. Stereographic City: Berlin Photography in the Wende EraMiriam PaeslackChapter 16. Divided City, Divided Heaven? Berlin Border Crossings in Post-WendeFictionLyn MarvenChapter 17. Interview with Barbara HoidnNotes on ContributorsIndex