Architecture, Politics, and Identity in Divided Berlin

Acknowledgments

ix This book would not have been possible without the colleagues, friends, and institutions that supported its creation and completion in myriad ways. I would first like to thank the following institutions that supported travel, research, and the writing of this book: the Center for Advanced Study in the Visual Arts at the National Gallery of Art, the Conference Group on Central European History, the German Historical Institute, the Getty Research Institute, the Graduate Center of the City University of New York, and the IIE Fulbright Program. The book’s publication was supported by a David R. Coffin Publication Grant from the Foundation for Landscape Studies. I would also like to acknowledge those archives that granted me access to their holdings and the individuals at those institutions whose assistance and patience were very much appreciated: Heidemarie Bock and Petra Albrecht at the Baukunst Archiv, Akademie der Künste, in Berlin; Andreas Matschenz and Barbara Schäche at the Landesarchiv in Berlin; the very helpful staff at the Filmarchiv of the Akademie der Künste, the Bundesarchiv in Berlin and Koblenz, the Bundesarchiv Filmarchiv, and the Getty Research Institute. Additional research was completed with the kind assistance of the staff members at the Geheimes Staatsarchiv Preußischer Kulturbesitz in Berlin, the Paley Center for Media in New York, the US National Archives and Records Administration in College Park, MD, and the National Gallery of Art Library, where Jacqueline Protka in particular was instrumental in arranging access to hard-to-find materials. Special thanks to the DEFA Film Library at the University of Massachusetts Amherst, where I screened many of the East German films mentioned in the book. Many thanks also go to Peter Kracht, my editor, and Dianne Harris, series editor, who both supported me and offered much-needed encouragement throughout the manuscript’s revision, as well as to the book’s copy editor, Maureen Creamer Bemko. I am also indebted to the anonymous readers whose comments and suggestions helped improve the book manuscript immeasurably. ACKNOWLEDGMENTS x Acknowledgments In this book’s earlier phases, the research and writing were guided and supported by Kevin Murphy, who served as an indispensable resource, providing astute and thoroughgoing criticism of its content and prose. The project also benefited from the insightful critique of Rosemarie Bletter, Stuart Liebman, and Paul Jaskot. Professor Jaskot deserves special mention , as he mentored me through the early stages of my career in art history at DePaul University and encouraged me in my early interest in German art, architectural, and political history. Also invaluable to the project’s development have been my personal relationships and the many conversations that have served to enrich and develop the ideas behind it. I thank in particular my colleagues Natasha Poor, Rachel Snow, and Carla MacDougall. Very special thanks go to my colleagues at CASVA, especially Joseph Hammond, Alexandra Hoare, and Marden Nichols, who were incredibly generous with their time and attention . Finally, this project could not have been completed without the love, support, and laughter provided by my husband, Darren Coyle. Thank you for helping me see this through! ...