Leseprobe

78 Independent of era and country, renowned designers were an important criterion in shaping the collection. Whenever possible, multiple works by particularly esteemed designers were acquired, including film posters. Fine artists who created poster designs were also of special interest. Moreover, most of the early-twentieth-century film posters in the Kunstbibliothek were part of groups of items acquired from printing presses, galleries, and private owners. Shortly after 1945 and the division of Berlin, the city’s museums were also split, but film posters continued to be collected on both sides of the Wall. Following German reunification, examples of East German film advertising held at the Kupferstichkabinett in the eastern part of the city were merged with the holdings of the Kunstbibliothek in West Berlin. The latter mounted an exhibition on the occasion of the 9th Berlin International Film Festival (Berlinale) in 1959, followed by a second exhibition marking the festival’s twenty-fifth anniversary, in 1975. Both collaborations resulted in numerous acquisitions for the collection that were as international in nature as the films selected for the Berlinale over those two years. The inventory taken in 2021 brought to light the outstanding strengths of the Kunstbibliothek’s film poster collection while also revealing some gaps. For one thing, the focus on “good design” means that fewer film posters are held that show everyday film advertising (which initially were often painted, later frequently digitally generated), unless they were created by well-known poster artists or advertising designers. This focus necessarily limits the international reach of the collection, which is most noticeable vis-à-vis countries with established film centres: Italy, England, and Hungary, as well as Hollywood in the United States. Global film productions from China, India, Japan, Mexico, Argentina, Egypt, Iran, and many other countries are represented at most with single posters. Women are notably underrepresented—in poster design as well as in production and direction. While this may occasionally be due to past curatorial decisions, it reflects above all the enormous dominance of men in film and design, which, despite a few exceptions, characterized the entire twentieth century and still prevails today. Unabhängig von Epochen und Ländern wurde stark nach Namen gesammelt: Von besonders geschätzten Gestalter:innen gelangten, wenn es möglich war, zahlreiche Arbeiten in die Sammlung, unter denen sich auch Filmplakate befinden. Bildenden Künstler:innen, die Plakate entwarfen, galt ebenfalls besonderes Interesse. Darüber hinaus fanden Filmplakate des frühen 20. Jahrhunderts meist mit Konvoluterwerbungen von Druckereien, Galerien oder aus Privatbesitz Aufnahme in die Kunstbibliothek. Bald nach 1945 wurden im geteilten Berlin auch die Museen gespalten, Filmplakate auf beiden Seiten der Mauer jedoch weiter gesammelt. Der im Ostteil der Stadt am Kupferstichkabinett zusammengetragene Bestand an DDR-Filmwerbung wurde nach der Wende mit jenem an der Kunstbibliothek in West-Berlin vereint. Hier war 1959 anlässlich der IX. Internationalen Filmfestspiele Berlin (Berlinale) eine Ausstellung veranstaltet worden, eine zweite folgte 1975 zur 25. Ausgabe des Festivals. Beide Kooperationen zogen zahlreiche Erwerbungen für die Sammlung nach sich: Deren Internationalität spiegelt die Auswahl der Filme für die Berlinale der jeweiligen Jahre. Jan Tschichold NAPOLEON DE 1927 Buchdruck | letterpress FILM NAPOLÉON FR 1927 Regie | dir. Abel Gance

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