(IN)TANGIBLE HERITAGE(S)

Abstract

Alongside the sweeping dramas addressing the darkest chapters of German history in the 20th century, a different type of historical film has emerged in the new millennium: period dramas exploring German cultural heritage by focusing on famous 18th century artists, such as Goethe! (2010), Beloved Sisters (on poet Friedrich Schiller), and the TV film Schiller (2005). Their presentation of 18th century settings and elaborate costumes emulate the affectionate portrayals of literary genius offered by films such as Shakespeare in Love (1998), and invite comparisons to British heritage films, criticised by Andrew Higson for rendering contorted, idealised representations of material upper-class heritage as national heritage.This paper discusses the ways in which Dominik Graf’s 2014 film Beloved Sisters consciously opposes such placating, nostalgic reconstructions of the past. It is argued that through visual and narrative techniques, the film highlights the relevance of the material heritage of 18th century Germany and Schiller’s (family) life and work for the present: In the film, Schiller’s mother-in-law repeatedly draws attention to a dinner service that encapsulates the family’s history and social status, thereby advocating the importance of tangible, material heritage alongside the more abstract cultural heritage that is Schiller’s writing. Similarly, the film showcases in detail the mechanical properties and operation of the newly invented printing press and its central role in disseminating knowledge and contributing to the democratisation of society that Schiller embraced in his writings. Shot on location in Weimar, the film ends with a temporal rupture that shows Schiller’s place of residence within the 21st century cityscape, surrounded by locals and tourists, thereby pointing to the importance of architecture as enduring material heritage through which we encounter past times. Drawing on Alf Lüdtge’s concept of ‘everyday history’ (Alltagsgeschichte), the paper argues that Beloved sisters makes a compelling case for the importance of physical, utilitarian objects in constituting and transporting cultural heritage, next to the immaterial ‘world of ideas associated with its protagonist Friedrich Schiller.