Abstract
A 1988 Die Welt “video tip” that revisited Bernhard Wicki's film The Bridge (1959) declared it one of the earliest confrontations with Germany's Nazi past.1 The film is seen as an initiating, even originary moment of the engagement with Germany's difficult past that would famously, and contentiously, mark the 1960s and 70s. Of course the piece's presupposition is complete nonsense. It provides stark testimony as to how one historical moment frequently conjures a past that never was, for cultural and political purposes entirely its own. In this case, the later understanding of the film projects onto the past a public…
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