Meno vaidmuo Vokietijos kultūrinėje diplomatijoje: vokiečių filmų festivalio Melburne (Australijoje) atvejis

Abstract

In Germany, cultural diplomacy, or auswartige Kulturpolitik, is seen to provide the option for a creative and less inhibited self-representation than other forms of diplomacy (G. Schneider, 2010; Schulte, 2000). A unique ‘German model of cultural diplomacy’ has emerged during the 20th century describing the mandate of one entire branch of foreign policy to independent non-government organizations, the largest of which is the Goethe-Institut (GI) (Michels, 2005; Singer, 2003). The GI is responsible for the cultural representation of Germany abroad, and follows the aim to ‘represent an authentic and varied picture of contemporary Germany’ (Denscheilmann, 2010). The GI understands film as a particularly useful medium to engage in a Kulturaustausch (cultural exchange) and organizes German Film Festivals and screenings around the world (Mosig, 2008, 2011). The GI thus engages in contemporary cinematic diplomacy, a concept that has so far evaded academic scrutiny. Different to a traditional understanding of cultural diplomacy, cinematic diplomacy highlights global commonalities and engages in an international dialogue (Fussl, 2004). This paper adds to the concept of cinematic diplomacy and highlights the opportunities that film provides in creating a reflective and productive intercultural dialogue. Through an analysis of the largest of the almost 150 Festivals of German films organized by the GI, which is held annually in Sydney and Melbourne, Australia, I highlight the importance of culture for German foreign politics. I argue that cultural diplomacy in general, and cinematic diplomacy in particular, can help establishing a picture of contemporary Germany that is less dependent on stereotypes formed during and post-WWII. Thus allowing for a crucial process for establishing egalitarian and constructive international communication (Cull, 2010; Harvey, 2005; C. P. Schneider, 2009).