Establishing minimal techno as soundtrack to the Creative City: Hannes Stöhr's Berlin calling

Hurley, AW

Establishing minimal techno as soundtrack to the Creative City: Hannes Stöhr's Berlin calling

Hurley, AW

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Publication Type:: Journal Article
Citation:: Seminar - A Journal of Germanic Studies, 2015, 51 (4), pp. 315 - 332
Issue Date:: 2015-11-01

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Field	Value	Language
dc.contributor.author	Hurley, AW https://orcid.org/0000-0001-6717-3537	en_US
dc.date.issued	2015-11-01	en_US
dc.identifier.citation	Seminar - A Journal of Germanic Studies, 2015, 51 (4), pp. 315 - 332	en_US
dc.identifier.issn	0037-1939	en_US
dc.identifier.uri	http://hdl.handle.net/10453/37606
dc.description.abstract	© 2015 Project MUSE. This article argues that Hannes Stöhr's Berlin Calling (2008), one of the first feature film treatments of Berlin's techno scene, contributes to the mythification of contemporary Berlin as an exciting, "culturepreneurial," creative city. Twenty years after the emergence of Berlin's electronic music scene, the film offers a conciliatory reading of that scene, which is consistent with the contribution that club culture and the notion of the creative individual make to the capital city's economy. In contrast to earlier, more worried readings of Berlin's club culture, Berlin Calling suggests that some techno is legitimate music with artistic merit. Although the film does not shy away from dance music's association with drug use, the protagonist "DJ Ickarus" ascertains "wie wichtig es ist, ein Ziel im Leben zu haben" and begins to grapple with his drug problem. This article analyzes how the film's narrative of fall and redemption is consistent with the increasing legitimation of techno culture in the Berlin Republic.	en_US
dc.relation	http://purl.org/au-research/grants/arc/DP0880004
dc.relation.ispartof	Seminar - A Journal of Germanic Studies	en_US
dc.relation.isbasedon	10.3138/seminar.2015.51.4.315	en_US
dc.title	Establishing minimal techno as soundtrack to the Creative City: Hannes Stöhr's Berlin calling	en_US
dc.type	Journal Article
utslib.citation.volume	4	en_US
utslib.citation.volume	51	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.for	2005 Literary Studies	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/e-Press
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access
pubs.issue	4	en_US
pubs.publication-status	Published	en_US
pubs.volume	51	en_US

Abstract:

© 2015 Project MUSE. This article argues that Hannes Stöhr's Berlin Calling (2008), one of the first feature film treatments of Berlin's techno scene, contributes to the mythification of contemporary Berlin as an exciting, "culturepreneurial," creative city. Twenty years after the emergence of Berlin's electronic music scene, the film offers a conciliatory reading of that scene, which is consistent with the contribution that club culture and the notion of the creative individual make to the capital city's economy. In contrast to earlier, more worried readings of Berlin's club culture, Berlin Calling suggests that some techno is legitimate music with artistic merit. Although the film does not shy away from dance music's association with drug use, the protagonist "DJ Ickarus" ascertains "wie wichtig es ist, ein Ziel im Leben zu haben" and begins to grapple with his drug problem. This article analyzes how the film's narrative of fall and redemption is consistent with the increasing legitimation of techno culture in the Berlin Republic.

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http://hdl.handle.net/10453/37606