Reliving the momentous events in the German capital's history, this volume contends that no other city has changed its face so rapidly in the past century as Berlin. The pre-World War I era is covered before moving onto the 1930s megalomania of Hitler and the overwhelming damage of World War II. Chronicling the city's rebirth, the study depicts its exhaustive reconstruction along with the constitution of the Berlin Wall. The city center's evolution from the 18th to the 21st centuries is also detailed, comparing historical material with current photographs. This bilingual edition includes English and German.

The influence of digital media on the cultural heritage sector has been pervasive and profound. Today museums are reliant on new technology to manage their collections. They collect digital as well as material things. New media is embedded within their exhibition spaces. And their activity online is as important as their physical presence on site. However, 'digital heritage' (as an area of practice and as a subject of study) does not exist in one single place. Its evidence base is complex, diverse and distributed, and its content is available through multiple channels, on varied media, in myriad locations, and different genres of writing. It is this diaspora of material and practice that this Reader is intended to address. With over forty chapters (by some fifty authors and co-authors), from around the world, spanning over twenty years of museum practice and research, this volume acts as an aggregator drawing selectively from a notoriously distributed network of content. Divided into seven parts (on information, space, access, interpretation, objects, production and futures), the book presents a series of cross-sections through the body of digital heritage literature, each revealing how a different aspect of curatorship and museum provision has been informed, shaped or challenged by computing. Museums in a Digital Age is a provocative and inspiring guide for any student or practitioner of digital heritage.

Each chapter is organized around a central contradiction, including: finances ("Who will pay for museums?"; demographic shifts ("Who will come to museums?); the roles of narratives ("Whose story is it?"), ownership of objects ("Who owns the artifact?" as well as learning and teaching ("What is learning and how can we teach equitably?" The reculturing stance taken by Ash promotes social justice and equity, 'making change' first, within museums, called inreach, rather than outside the museum, called outreach; challenges existing norms; is sensitive to neoliberal and deficit ideologies; and pays attention to the structure agency dialectic.

Understanding the visitor experience provides essential insights into how museums can affect people's lives. Personal drives, group identity, decision-making and meaning-making strategies, memory, and leisure preferences, all enter into the visitor experience, which extends far beyond the walls of the institution both in time and space. Drawing upon a career in studying museum visitors, renowned researcher John Falk attempts to create a predictive model of visitor experience, one that can help museum professionals better meet those visitors' needs. He identifies five key types of visitors who attend museums and then defines the internal processes that drive them there over and over again. Through an understanding of how museums shape and reflect their personal and group identity, Falk is able to show not only how museums can increase their attendance and revenue, but also their meaningfulness to their constituents.

Material Culture in Transit: Theory and Practice constellates curators and scholars actively working with material culture within academic and museal institutions through theory and practice. The rich collection of essays critically addresses the multivalent ways in which mobility reshapes the characteristics of artefacts, specifically under prevailing issues of representation and colonial liabilities. The volume attests to material culture as central to understanding the repercussions of problematic histories and proposes novel ways to address them. It offers valuable reading for scholars of anthropology, museum studies, history and others with an interest in material culture.

This is an innovative interdisciplinary book about objects and people within museums and galleries. It addresses fundamental issues of human sensory, emotional and aesthetic experience of objects. The chapters explore ways and contexts in which things and people mutually interact, and raise questions about how objects carry meaning and feeling, the distinctions between objects and persons, particular qualities of the museum as context for person-object engagements, and the active and embodied role of the museum visitor.

Museum Materialities is divided into three sections Objects, Engagements and Interpretations and includes a foreword by Susan Pearce and an afterword by Howard Morphy. It examines materiality and other perceptual and ontological qualities of objects themselves; embodied sensory and cognitive engagements both personal and across a wider audience spread with particular objects or object types in a museum or gallery setting; notions of aesthetics, affect and wellbeing in museum contexts; and creative and innovative artistic and museum practices that seek to illuminate or critique museum objects and interpretations.

Phenomenological and other approaches to embodied experience in an emphatically material world are current in a number of academic areas, most particularly strands of material culture studies within anthropology and cognate disciplines. Thus far, however, there has been no concerted application of this kind of approach to museum collections and interactions with them by museum visitors, curators, artists and researchers. Bringing together essays by scholars and practitioners from a wide disciplinary and international base, Museum Materialities seeks to make just such a contribution. In so doing it makes a valuable and original addition to the literature of both material culture studies and museum studies.

Classic set of 45 articles from the first decade of the Journal of Museum Education and its predecessor, Roundtable Reports. Articles and essays focus on teaching strategies, introspective glances at the museum education field, reports of program successes and near successes, evaluative studies, and reviews of exhibitions and literature related to object-based learning. This title is sponsored by The Museum Education Roundtable. The Museum Education Roundtable (MER) is a non-profit organization based in Washington, DC, dedicated to enriching and promoting the field of Museum Education.

This book queries, through the prism of the Convention for the Protection and the Promotion of the Diversity of Cultural Expressions (the Convention), the ways in which the processes and substance of international law-making have shifted in response to new technologies and new actors. The essays, written by recognised experts in the field, engage deeply with the practice under the Convention. The 4 parts examine: the rise of new actors and their impact on the Convention's law-making and implementation; the specific implementation of Article 21; the role of cultural communities in promoting diversity of cultural expressions; and the effectiveness and coherence of the Convention. Scholars and practitioners in the field of international law of culture and international cultural cooperation will welcome this fascinating new book.

Heritage and Identity explores the complex ways in which heritage actively contributes to the construction and representation of identities in contemporary societies, providing a comprehensive account of the diverse conceptions of heritage and identity across different continents and cultures.

This collection of thought-provoking articles from experts in the field captures the richness and diversity of the interlinked themes of heritage and identity. Heritage is more than a simple legacy from the past, and incorporates all elements, past and present, that have the ability to represent particular identities in the public sphere.

The editors introduce and discuss a wide range of interconnected topics, including multiculturalism and globalization, local and regional identity, urban heritage, difficult memories, conceptions of history, ethnic representations, repatriation, ownership, controversy, contestation, and ethics and social responsibility.

The volume places empirical data within a theoretical and analytical framework and presents an interdisciplinary approach to the study of the representation of the past, invaluable for anyone interested in heritage and museum studies.

Museums and the Working Class is the first book to take an intersectional and international approach to the issues of economic diversity and class within the field of museum studies. Bringing together 16 contributors from eight countries, this book has emerged from the significant global dialogue concerning museums' obligation to be inclusive, participate in meaningful engagement and advocate for social change. As part of the push for museums to be more accessible and inclusive, museums have been challenged to critically examine their power relationships and how these are played out in what they collect, whose stories they exhibit and who is made to feel welcome in their halls. This volume will further this professional and academic debate through the discussion of class. Contributions to the book will also reinforce the importance of the working class - not only in collection and exhibition policy, but also for the organisational psychology of institutions. Museums and the Working Class is essential reading for scholars and students of museum, gallery and heritage studies, cultural studies, sociology, labour studies and history. It will also serve as a source of honest and research-led inspiration to practitioners working in museums, galleries, libraries, archives and at heritage sites around the world.

This book explores the people of the Kikori River Delta, in the Gulf of Papua, as established historical agents of intercultural exchange. One hundred years after they were made, Frank Hurley's colonial-era photographic reproductions are returned to the descendants of the Kerewo and Urama peoples, whom he photographed. The book illuminates how the movement, use, and exchange of objects can produce distinctive and unrecognised forms of value. To understand this exchange, a nuanced history of the conditions of the exchange is necessary, which also allows a reconsideration of the colonial legacies that continue to affect the social and political worlds of people in the twenty-first century.

1. The book examines the common fundraising challenges that library, archive and museum (LAM) institutions of all types and sizes face and provides practical advice that will help LAMs to reassess how they identify, highlight, and leverage their organizational assets for fundraising. 2. Written in an accessible and conversational style, the book is essential reading for LAM practitioners and fundraisers working around the world. It will also be of interest to students taking courses related to the funding and/or impact of libraries, archives and museums. 3. This is the first book to provide a practical guide on fundraising that will be useful to practitioners working across the library, archive and museum sectors.

Narrative Theory in Conservation engages with conservation, heritage studies, and architectural approaches to historic buildings, offering a synthesis of the best of each, and demonstrating that conservation is capable of developing a complementary, but distinct, theoretical position of its own. Tracing the ideas behind the development of modern conservation in the West, and considering the challenges presented by non-Western practice, the book engages with the premodern understanding of innovation within tradition, and frames historic buildings as intergenerational, communal, ongoing narratives. Redefining the appropriate object of conservation, it suggests a practice of conserving the questions that animate and energize local cultures, rather than only those instantiated answers that expert opinion has declared canonical. Proposing a narrative approach to historic buildings, the book provides a distinctive new theoretical foundation for conservation, and a basis for a more equal dialogue with other disciplines concerned with the historic environment. Narrative Theory in Conservation articulates a coherent theoretical position for conservation that addresses the urgent question of how historic buildings that remain in use should respond to change. As such, the book should be of great interest to academics, researchers, and postgraduate students from the fields of conservation, heritage studies, and architecture.

Museums, Refugees and Communities explores the ways in which museums in Germany, The Netherlands and the UK have responded to the complexities and ethical dilemmas involved in discussing the reasons for, and issues surrounding, contemporary refugee displacements. Building upon an ethnographic study carried out in the UK with refugees from the Democratic Republic of Congo, the book explores how object-led approaches can inspire new ways of thinking about and analysing refugees' experiences and European museums' work with their communities. Enlarging the developing body of research on museums' increasing engagement with human rights and focusing in particular on the social, cultural and practical dimensions of community engagement practices with refugees, the book also aims to inform growing debates on museums as sites of activism. Museums, Refugees and Communities offers an innovative and interdisciplinary examination of museum work with and about refugees. As such, it should appeal to researchers, academics and students engaged in the study of museums, heritage, migration, ethics, community engagement, culture, sociology and anthropology.

This book: analyses conflicting notions of identity and belonging in contemporary Europe. Addressing the creation, negotiation and (re)use of diverse spaces and places of belonging, the book examines their fascinating complexities in the context of a changing Europe. takes an innovative interdisciplinary approach to examine renegotiations of belonging played out through cultural encounters with difference and change, in diverse public spaces and contested places. employs analyses of diverse case studies to draw out the significance of the participation or exclusion of differing community, grassroots and activist groups in such practices and discourses of belonging in relation to the contemporary emergence of identity conflicts and political uses of the past across Europe. analyses the ways in which people's sense of belonging is connected to cultural, heritage and memory practices undertaken in different public spaces, including museums, cultural and community centres, city monuments and built heritage, neglected urban spaces, and online fora. provides a valuable contribution to the existing bodies of work on identities, migration, public space, memory and heritage. It will be of interest to scholars and students with an interest in contested belonging, public spaces and the role of culture and heritage.

1. This practical guide provides all of the information practitioners need to consider when making the decision to engage with young children and their carers. 2. This is the first book to provide practical guidance on how to attract young children and their carers into the museum. This will ensure that the book is essential reading for experienced and junior professionals, who are working in museums large and small around the world. 3. There is no competition to this book. Drawing on current neurological research and best practices in early childhood education and development, this guide presents case studies from a variety of different institutions around the world and will be truly unique as a result.

At a time of heightened international interest in the colonial dimensions of museum collections, Dividing the Spoils provides new perspectives on the motivations and circumstances whereby collections were appropriated and acquired during colonial military service. Combining approaches from the fields of material anthropology, imperial and military history, this book argues for a deeper examination of these collections within a range of intercultural histories that include alliance, diplomacy, curiosity and enquiry, as well as expropriation and cultural hegemony. As museums across Europe reckon with the post-colonial legacies of their collections, Dividing the Spoils explores how the amassing of objects was understood and governed in British military culture, and considers how objects functioned in museum collections thereafter, suggesting new avenues for sustained investigation in a controversial, contested field. -- .

This book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio description, which allows the visually impaired or blind to assess a film's non-verbal content, using examples from the 2017 film the Big Sick, outlines existing research to date on this under-explored line of research and opens avenues for future study within the audiovisual translation of humour. This book is key reading for students and scholars in translation studies and humour studies.

How does one turn a house containing artworks into a museum? How does one narrate the story of the lives that were lived there? How authentic can a retrospective reconstruction of interior spaces and their contents be?
The contributors of "The Modern Period Room," drawn from a broad range of disciplines, consider the interiors of the modern era and their more recent reconstruction from a variety of different viewpoints. Beneath the conceptual and physical strategy of the representational technique of the modern period room lie numerous conflicting intentions.
This collection of essays by design historians, architects and curators engages with these tensions. The authors explore themes and examples by architects such as Frank Lloyd Wright, Truus Schroeder and Gerrit Rietveld, Erno Goldfinger and others in a bid to reveal the specific cultural encoding of presented interior spaces.
The book's critical engagement with the issues and conventions which surround the modern period room will allow historians and theorists of architecture, design and social history to investigate the contexts in which this representational device has been used. The various models of period room enables the reader to understand just how dynamic, contributory and ultimately interventionist the presentation of the period room is in the process of architectural and design history making.

This book explores the memory and representation of genocide as they affect individuals, communities and families, and artistic representations. It brings together a variety of disciplines from public health to philosophy, anthropology to architecture, offering readers interdisciplinary and international insights into one of the most important challenges in the 21st century. The book begins by describing the definitions and concepts of genocide from historical and philosophical perspectives. Next, it reviews memories of genocide in bodies and in societies as well as genocide in memory through lives, mental health and transgenerational effects. The book also examines the ways genocide has affected artistic works. From poetry to film, photography to theatre, it explores a range of artistic approaches to help demonstrate the heterogeneity of representations. This book provides a comprehensive and wide-ranging assessment of the many ways genocide has been remembered and represented. It presents an ideal foundation for understanding genocide and possibly preventing it from occurring again.

1. The author explains how cultural heritage organizations, such as museums, libraries, archives and historic sites, can forgo the "best" in favor of "good" and "better" approaches to collections care. Giving examples of implementation and easy-to-follow guides, Forsko demonstrates how preservation can become a component of any collections care program - even one with little to no resources. 2. The book will be an essential tool for anyone who cares for collections, particularly collections managers, registrars, and archivists. It will be suitable for professionals working in any type or size of institution and will also be of interest to students who are learning how to become practitioners. 3. The book will be the first to take a realistic, sustainable approach to collections care, rather than a "best practices" approach. Drawing on more than a decade of experience working with over 40 libraries, museums, archives, and other historic sites, the author encourages the reader to start by taking small, manageable steps and explains that even the smallest of actions can make a difference that will ultimately help to preserve collections

Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, this book features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts. The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed and experienced by spectators in the last decade. Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. The introductory essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidatingthe ever-evolving field of the visual arts and performance.

Mega-events have long been used by cities as a strategy to secure global recognition and attract future economic investment. However, while cultural mega-events like the European Capital of Culture have become increasingly popular, cities have begun questioning the traditional model of other events such as the Olympic Games with many candidate cities cancelling bids in recent years. This approach to planning and developing cities through mega-events introduces a broad range of physical effects and nuanced institutional changes for cities, particularly for the more sensitive heritage areas of cities. This book explores these issues by first examining the dynamics of cities' attempts to reduce overall costs and increase the sustainability of these large events by further embedding them within the existing fabric of the city and second by studying in depth the impact on the heritage of host cities. This book investigates three World Heritage Cities: Genoa, Liverpool and Istanbul, each of which have hosted the European Capital of Culture and introduced a variety of opportunities and risks for their heritage. The book highlights the potential benefits and challenges of integrating event and heritage planning to provide lessons that can help future historic cities and heritage decision makers better prepare for such events.

This very practical book guides museums on how to create the highest quality experience possible for their visitors. Creating an environment that supports visitor engagement with collections means examining every stage of the visit, from the initial impetus to go to a particular institution, to front-of-house management, interpretive approach and qualitative analysis afterwards. This holistic approach will be immensely helpful to museums in meeting the needs and expectations of visitors and building their audience base. Because "The Engaging Museum" ""offers a set of principles that can be adapted to any museum in any location, it will be a valuable resource for institutions of every shape and size.
Especially designed to be user-friendly, "The Engaging Museum "includes:
* Chapter introductions and discussion sections
* Supporting case studies to show how ideas are put into practice
* A lavish selection of tables, figures and plates to support and illustrate the discussion
* Boxes showing ideas, models and planning suggestions to guide development
* An up-to-date bibliography of landmark research
"The Engaging Museum "will appeal internationally to students and teachers from a wide range of post-graduate museum courses in museology, museum studies, gallery studies, heritage studies and management, as well as to those studying tourism and visitor attraction management. It is also highly relevant to any professional planning a new museum exhibition or applying for grant aid for exhibition development.