Loopline Collection: Irish Film Institute (IFI) Archive

Kasandra O’Connell, Irish Film Institute

22 May 2020


“It’s somewhere between art and education, if you can capture those two things, you’re home and dry”[i]

Se Merry Doyle, Loopline films

In May 2020 the Irish Film Institute (IFI) [ii] published the second volume of the Loopline Collection on its online platform- the IFI Player. [iii] This material is the output of Loopline Films, one of Ireland’s most influential independent production companies, founded in 1992 by filmmaker Sé Merry Doyle. The internationally award-winning company named after the River Liffey viaduct, AKA the Loopline Bridge in Dublin’s Inner City, specialises in producing documentaries and TV series “with heart”.[iv] Merry Doyle and his collaborators forgo traditional documentary techniques, such as narration, preferring a more experimental approach to their subjects.[v] Since its inception Loopline has become renowned for its perceptive, political and poetic body of work, particularly a series of portraits of prominent cultural figures and a succession of programmes highlighting pressing social issues and documenting changes in Irish society. Amongst the material made available on the IFI Player in April 2019 was previously unreleased footage of U2 playing live on Dublin’s Sheriff Street in 1982, the inclusion of which ensured international media interest in the project.

Sé Merry Doyle and Eugene Finn at the launch of the collection on the IFI Player

Project origins

The genesis of the collaboration between the IFI and Loopline was an approach by Loopline’s founder Sé Merry Doyle, to the IFI Irish Film Archive in 2015.[vi] This resulted in funding being secured from the Broadcasting Authority of Ireland’s (BAI) archiving scheme in order to preserve the output of the production company. [vii] Over the following year, Merry Doyle and archivist Eugene Finn assessed and catalogued the various media elements that made up the collection, which had resided in the Loopline offices for many years. This material included a wide variety of formats: 16mm and 35mm films, a multitude of tape formats, numerous audio materials and a significant amount of born digital content held on hard drives and camera cards- illustrating the transition of the production world from analogue to digital through the period in which the production company has operated. When Loopline closed its studios in 2017 this material was transferred to the IFI Irish Film Archive, where the IFI began its part of the project to catalogue, digitise and preserve the collection, eventually making it available to the public via the IFI Player.

Despite the fact that IFI Archive team had been provided with a sample of the collection’s content in order to write the BAI funding application, it was only when the entire collection was transported to the IFI premises for assessment that its full value was appreciated. In addition to 47 finished programmes chronicling the social, cultural and political landscape of Ireland between 1982 and 2015, the collection contained outtakes, interviews, pilots and additional material not included in the final broadcast programmes, thus giving unparalleled access not only to the programme subjects but to Merry Doyle’s immersive, and instinctive approach to filmmaking.

The collection contains undeniably starry content including such high profile figures as U2, Patrick Kavanagh, Martin Scorsese, Peter Bogdanovich, Maureen O’Hara, J.G. Ballard, Margaret Atwood and Gore Vidal amongst many others, but it is the footage chronicling changes in Irish urban and rural society and documenting key areas of Irish history and the arts that is of particular value to the IFI. Although the IFI Irish Film Archive collection holds material from  1890s to the present day it is weighted towards the mid-20th century, so the inclusion of such a  wide ranging and extensive (over 900 hours of footage) collection  covering the latter part of the 20th century provided some welcome curatorial balance.  This was also the first full broadcast collection that the IFI archive had acquired and processed in conjunction with the filmmaker, thus providing a valuable opportunity to work with Merry Doyle to ensure the material was correctly documented, the context of its creation was captured and allowing staff to gain a deep insight into the production process itself.

An instinctive practitioner, Merry Doyle stumbled into filmmaking with no formal training. Born into the working- class Dublin suburb of Finglas he began his artistic career in the theatre. A contemporary of director Jim Sheridan and actors Gabriel Byrne and Liam Neeson, his first foray into filmmaking was in the early 1980s when he borrowed footage from the legendary Irish documentary maker George Morrison editing it into a theatre set piece, the success of which encouraged him into a career as a film editor in Dublin and then London. [viii] Returning to Ireland in the 1990s he officially set up Loopline films, although his first work Looking On (1982), was created prior to his departure to England.

The Dublin Merry Doyle returned to was in flux as the last vestiges of tenement life and the old city were being swept away by internationalism, capitalism and a sense of the modern. Merry Doyle was acutely aware of the internal tension within the capital as communities fought to retain their identity in the face of economic and social change. He felt compelled to capture not only the Dublin he knew before it disappeared, but also the struggle of working-class communities as they tried to navigate their changing environs; and so, he began to film those around him. This resulted in a trio of films that are still relevant as they deal with issues that continue to effect Dublin, urban regeneration and gentrification and social and economic deprivation. Looking On, Loopline’s inaugural work focuses on a 1982 cultural festival, spearheaded by community activist Mick Rafferty and the Independent politician Tony Gregory; this landmark event sought to reclaim the inner city for the local population and instil pride in an area facing financial hardship, lack of employment and increasing levels of drug abuse. It notably features an early rooftop appearance by U2 in Alive Alive O: A Requiem for Dublin, Merry Doyle’s first full length documentary featuring original poetry from Paula Meehan and footage shot by Oscar-nominated cinematographer Robbie Ryan, chronicling the fight of Dublin’s iconic street traders to maintain their livelihood against the threat of commercial interests in the inner city who seek to expel the traders from their traditional locations of the Iveagh Market and Moore Street.[ix]

Liam McGrath’s Essie’s Last Stand depicts 76-year-old Essie Keeling’s fight to stay in her home as developers attempt to demolish St Ultan’s, the block of flats she has resided in for four decades. One of the last remaining tenants she and a neighbour refuse to be evicted, determined to thwart the ambitions of developers to create luxury apartments on the site of their home. The film is considered a companion piece to Alive Alive O by Tony Tracy as it similarly depicts a “proud and marginalised community defying mainstream expectations”.[x]

In addition to topics that explore the shifting community and values within the city, Loopline’s other focus is creating intimate portraits of renowned Irish cultural figures. These deeply personal works include Patrick Scott: Golden Boy, produced by Andrea Pitt and Maria Doyle Kennedy of Mermaid Films, which gives an insight into the work of one of Ireland’s foremost abstract painters; the film includes footage shot by Seámus McGarvey, the Oscar-nominated cinematographer. Patrick Kavanagh: No Man’s Fool which focuses on the life of the renowned poet, with contributions from poets John Montague and Macdara Woods, writer Dermot Healy, and actor T.P. McKenna. James Gandon: A Life which looks at the career of the renowned 18th-century architect responsible for some of Dublin’s most iconic buildings including the Customs House and the Four Courts; the documentary is notable for an extensive interview with former Taoiseach (Irish Prime Minister) Charles J. Haughey at his Gandon-designed home in Abbeyville, North Dublin.

Loopline also made several series for television, including Imprint which was hosted by the poet Theo Dorgan and first broadcast on RTÉ between 1999 and 2001. It features in-depth and revealing interviews with some of the literary world’s most notable figures such as Margaret Atwood, Richard Ford, Gore Vidal, Eavan Boland and Colm Tóibín, while the six-part series A Good Age, originally broadcast in 1997, is an intriguing look at the issues facing older people, with candid personal testimonies about intimacy, self-care, and ageism. The most recent series for television was Muintir na Mara (People of the Sea) which ran for six series on TG4.[xi] A travel programme of sorts, presented by traditional boatbuilder Pádraig Ó Duinnín, it followed his journey around the Irish coastline as he visited Cork, Kerry, Galway, Clare and Sligo/ Mayo, engaging with a variety of local characters, before ending his travels in Donegal. The series illustrates Loopline’s continuing preoccupation with location and identity albeit it in a vastly different setting to previous urban focussed works. Ó Duinnín explores and memorialises the activities of range of crafts people, artists, musicians as well as addressing “contentious issues facing Ireland’s coastal towns”, such as “over regulation of the fishing industry, the impact of multinationals on communities and the natural environment and the demise of the fishing community and traditions”.[xii]

Folklife material 

Rural life is also the focus of a particularly valuable sub-collection within the Loopline corpus; the material shot for the BBC/RTE series Hidden Treasures directed by Anne O’Leary in 1998 explores a range of trades, crafts and traditions widely practised in rural Ireland from the 1850s to the 1950s.  The series is built around a collection of 16mm films commissioned by the National Museum of Ireland’s Folklife Division, in association with the Irish Folklore Commission and filmed from the 1950s through to the 1970s and which is also preserved as part of the Irish Film Institute collection.

Hidden Treasures, episode 1: ‘Cot, Coracle and Currach’

Hidden Treasures, episode 4: ‘Rod, Rhyme and Spinning’

These films emphasise the self-sufficiency of rural householders and crafts specialists, through their use of everyday materials to make objects for practical use in their daily lives and cover a wide variety of pre-industrial practices, such as rope-making, tinsmithing, various forms of fishing and grain-threshing, turf-cutting, tillage, and straw and seaweed gathering. They are a beautifully shot record of a fading Ireland and indicative of Loopline’s preoccupation with changing tradition, landscape and place.

Feminist perspective

Another prominent strand within the Loopline output is work that memorialises the lives of Irish women, although the company has sometimes met with controversy whilst doing so.

Martina Durac’s documentary Mairéad Farrell: Comhrá nár Chríochnaigh (An Unfinished Conversation) is about the Republican activist who was shot by the British Army in Gibraltar in 1988, in which her friend historian Bríona Nic Dhiarmada, attempts to uncover the complex woman behind the mythology that has been woven around her.

Still from Mairéad Farrell: Comhrá nár Chríochnaigh (An Unfinished Conversation)

MNÁ AN IRA is a six- part series that focuses on the role played by female members within the Provisional IRA, taking a very personal approach to its subject matter the series explores what motivated the women to become involved in the conflict. The sympathetic tone taken by the filmmakers led to criticism of the series, not least by Concubhar O Liathain, a member of the TG4 board, who asked for the decision to broadcast the series to be reviewed following the airing of the episode featuring Rose Dugdale, as he felt its tone would prove “heart-breaking for the victims of the IRA and their relatives”.[xiii] In response the producers of the series Vanessa Gildea and Martina Durac, defended their work explaining that it was “an attempt to understand part of the recent history of our country and why certain people became involved in violent activity — by hearing their personal stories and finding out what motivated them into such drastic action.”

Another less controversial female figure that is celebrated within the collection is Kathleen Lynn, Rebel Doctor a programme that rediscovers the legacy of this extraordinary humanitarian. Structured around Lynn’s diaries, the programme explores Lynn’s remarkable journey from a clergyman’s daughter in the West of Ireland to become a physician and suffragette who founded the first Irish children’s hospital St Ultan’s and was chief medical officer for the Irish Citizen Army.  This celebration of women’s achievements continues with Merry Doyle’s next project Hanna and Me which tells the story of republican suffragette Hanna Sheehy Skeffington through the eyes of her great granddaughter Micheline.

Value of the collection

In addition to the completed programmes within the collection, Loopline project archivist Eugene Finn highlights the value of the uncompleted works, projects which Loopline began but were unable to progress due to lack of financial support, thus illustrating the difficulty in “raising funding for serious social cultural and historical documentaries”.[xiv] These fragments provide an insight into the subject matter which fascinates Merry Doyle and his collaborators, as the abandon works offer a glimpse of partial profiles of figures such as the controversial writer Ulick O’Connor, and trade unionist and socialist politician Jim Kemmy. Equally tantalising is a series of interviews with international practitioners such as D.A. Pennebaker, Kim Longinotto, Les Blanc and Molly Dineen amongst others, for an unfinished project entitled Documentary Where Art Thou?

In his piece for Cassandra Voices, Finn also remarks on the value of the collection in providing a window into the production process, as outtakes and rushes document “the filming of establishing shots”, and “ the pursuit of best takes” and show how the “ideas that arise during interviews” are developed into new concepts, giving us an unparalleled insight into the development the and construction of the work. In an in-depth interview at the IFI Merry Doyle’s further emphasises the instinctive and organic nature of the production process, as relationships, coincidence and circumstance led Loopline from one topic to another.[xv]

Availability of the collection

The first tranche of the Loopline Collection was made available on the IFI Player in April 2019, with the second tranche published in May 2020. Volume 2 can be viewed here. In preparation for publication the IFI player curatorial team mapped out an online programming strategy, working with Merry Doyle to identify themes within the material in order to present the collection to the public in an engaging and accessible way.[xvi] Video segments and introductions were filmed with a range of contributors to provide context and create a route for further critical engagement with the content.  Additionally, the IFI programmed a retrospective of Loopline films in its cinemas, including a career interview with Merry Doyle to coincide with the public availability of the work. The collection is now available on the IFI Player without geo-blocking so that an international audience can explore and enjoy its diverse subject matter. Taken as a whole the collection is fascinating document of recent Irish history and the changing cultural life of the nation.

Merry Doyle’s interest in complex themes such as changing identity, social justice, and the creative process, has ensured that the collection contains a rich seam of material for researchers, historians, sociologists and programme makers to mine. Similarly, Merry Doyle’s innate ability to find the human story within universal themes, will no doubt ensure that the work of Loopline continues to resonate with audiences long into the future.

You can view the trailer for the Loopline Collection, Volume 2 here.


[i] ‘900 hours of footage that tells the story of Ireland’: Video from the last 30 years archived at IFI https://jrnl.ie/4594823 Apr 16th 2019, Journal.ie Andrew Roberts.

[ii] The Irish Film Institute is Ireland’s national cultural institution for film with a remit to Exhibit, Preserve and Educate.

[iii] The IFI Player is a virtual viewing room for the IFI Irish Film Archive’s collections. Launched in 2016, it gives fee global access to a range of material from the IFI’s collections, and acts as a platform to publicise the IFI’s preservation and digitisation projects. In collaboration with tech partners Axonista a suite of apps for Android, Apple and Roku was launched in 2017.

[iv] IFI Career interview.

[v] Merry Doyle was not always at the helm and collaborated with a range of accomplished producers and directors such as Martina Durac, Vanessa Gildea, Anne O’Leary, Liam McGrath amongst others stepping in.

[vi] The IFI Irish Film Archive is part of the IFI. It has a mission to collect, preserve and share Ireland’s moving image heritage.

[vii] The Broadcasting Authority of Ireland is Ireland’s broadcast regulator, but also runs an archiving scheme which aims to promote a culture of preservation within the broadcast sector and provides funding for preservation projects for audio-visual material made for broadcast.

[viii] George Morrison is an Irish documentary maker, best known for his ground-breaking film Mise Eire (1959) which is created entirely from archival footage and tells the story of events around and during the Easter Rising.

[ix] Alive Alive O, review Film West, Issue 39, Dan McCarthy

[x] Essie’s Last Stand review, Flim West,issue 41, Tony Tracy

[xi] TG4 is Ireland’s Irish language television station.

[xii] www.loopline.com

[xiii] IRA series Seriously stains TG4, Independent, 8th Jan 2012

[xiv] ‘Archiving the Recent Past: the Loopline Collection’, EUGENE FINN ON JULY 19, 2019 https://cassandravoices.com/uncategorized/archiving-the-recent-past-the-loopline-collection/

[xv] https://ifi.ie/2019/05/se-merry-doyle

[xvi] Shauna Lyons, Kasandra O’Connell, Sunniva O’Flynn and Saskia Vermeulen


Kasandra O’Connell has been Head of the IFI Irish Film Archive custodian of Ireland’s national moving image collection for two decades. Prior to this she worked in conservation at the National Museum of Ireland and has a postgraduate qualification in Archival Science, an M.A. in Museum Studies and is currently undertaking PhD research in moving image preservation and policy at DCU. She is on the editorial board of the Association of Moving Image Archivists journal and has written about digital preservation and moving image archiving for a number of publications including Film Ireland, History Ireland, Journal of the Society of Archivists and International Journal of Film Preservation; she has also contributed to a number of television and radio programmes on the subject. She devised and teaches an MA module in digital media preservation at Maynooth University and was one of a group of international experts selected as faculty for 2018 FIAF preservation and restoration workshop in India. Her focus in recent years has been devising and implementing the IFI Irish Film Archive’s Digital Preservation and Access Strategy, developing the award winning IFI Player and undertaking large scale preservation and access projects such as the Irish adverts project, Loopline and the Irish Independence film collection.


Disclaimer: The IAMHIST Blog is a platform that offers individual scholars the opportunity to present their work and thoughts. They alone are responsible for the content, which does not represent the view of the IAMHIST council or other IAMHIST members.

Asian archives and archivists: travels and revelations

Dina Iordanova, University of St Andrews

15 May 2020


I am not a specialist on archives. As an East Europeanist, I mainly know of archives in places like Tirana – magnificently supported through the Albanian Cinema Project and depicted in Mark Cousins’ film Here Be Dragons (2013) or Bucharest, the Romanian capital, where a number of B&W documentaries from the time of state socialism, made at the Sahia studio, were recently restored and published in a series of DVDs, in a project sponsored by the One World Romania film festival. Then, as a specialist on film festivals, I have had the chance to learn about the role of festivals in showcasing restored films, which expands far beyond festivals like Il Cinema Ritrovato or Pordenone, and comprises of a global network of festivals in places like in Chile or Japan, discussed in contributions to the Archival Film Festivals volume, edited by Alexander Marlow-Mann in 2013.

However, it so happened that in recent years I travelled a lot across Asia and had the chance to visit and get to know the work of quite a few Asian film archives and preservation organisations that I previously knew next to nothing about.

In 2013, friends from Kasetsart University in Bangkok took me to the Thai Film Archive, an imaginatively designed complex on the outskirts of the city which combines a film museum, a small cinema, as well as storage space. I came to know about the amazing life work of Dome Sukwong, the archive’s committed founder, who had been collecting old films on his own, with no support from the state nor institutional framework until his work came to be noticed many years later. Having commissioned a contribution from archivist Chalida Uabumrungit for the collection Film Festivals and East Asia (2011, which I co-edited with Ruby Cheung), I already knew about the adverse climatic conditions that affect preservation efforts in these parts of Southeast Asia. In Bangkok I witnessed on the spot how they address these difficulties in action, with dedication and perseverance.


Then, whilst guest lecturing at the Beijing Film Academy in 2016, I was invited to give workshops on film festivals at the venerable China Film Archive, which occupies a large 16-storey building in Beijing, and features an adjacent cinema that has a full programme of screenings of films from China’s rich film heritage, in many respects similar to the programme that one finds on a daily basis at the Cinematheque in Paris. It is here where I saw the largest screen I have ever come across in my lifetime. I also enjoyed the privilege to be shown around their restoration department, which occupies one of the floors and where over twenty young employees are seated in front of advanced computers, each engaged with clearing the scratches from the scanned old prints that they are in process of digitising. From a detailed flowchart displayed on the wall, I learned that a trainload of films for restoration are being shipped to them every week from the storage depot in Xi’an and then processed by the restoration unit. China’s whole film heritage is being digitized here. Even if this is not yet released to the public, I was able to realise that the global cinephile community will have access to an amazing resource once a decision is made for the release of this digitized material.

The Big Screen at China Film Archive

Fast forward two years later, to December 2018. Serving a term as Visiting Research Professor at the University of Hong Kong, I chose to live in Kwun Tong, a part of town where few foreigners ever set foot. A former industrial area occupied by large building blocks where various factories were clustered in the past, nowadays this is one of the places in the city where rents are still affordable. So no wonder that even if not obvious on the surface, Kwun Tong is the epicentre for the city’s cultural industries. Quite remote from Hong Kong’s glossy commercial areas such as Central, Causeway Bay and Tsim Sha Tsui, it is the home of leading modern art galleries such as Agnes Lin’s Osage and the Sun Museum, as well as of popular music venues. It only took me a few daysin Kwun Tong to discover it is also the centre for Hong Kong’s burgeoning film industry, with the venerable Hong Kong International Film Festival having its offices here, as well as many production and distribution companies occupying co-working space in the buildings nearby. One of these older industrial space, The Milky Way Building, is owned by director Johnnie To and his associates – and it is on its staircase that many scenes of well-known Hong Kong action movies have been shot.

Today the Milky Way is home of various film companies. I visited it one day with my friend, documentary producer Peter Yam, who took me to meet Bede Cheng, the director of L’Immagine Ritrovata Asia, a highly specialised film restoration lab which is local subsidiary of Cineteca di Bologna. I was shown around their premises, witnessed the high-tech equipment and seeing several young women at restoration work in front of large computer screens. The big scanner in one of the back spaces – amidst buzzing FedEx trucks and commercial spaces storing Chinese herbs — was loaded with an old copy of a King Hu film which was being scanned and slowly transferred to the new digital format.


Most recently, whilst attending the first Film Festivals and Restoration Forum at Xiamen University in China in the summer of 2019, I was privileged to join the expedition to their brand new large campus, which, being the size of a small town, is home of one of the newest film archives in China. Its holdings, still in process of being organised, are occupying several floors within their 12 -storey spacious library, which also has a good-sized modern cinema equipped for showing various formats on the ground floor. With many historical posters displayed on the walls, the colleagues from Xiamen showed us many rooms where they had stored historical projection equipment, cans of 35 mm film prints, as well as many other film-related paraphernalia. I had the chance to browse and view some of the material they screened for me, along with colleagues such as Jan-Christopher Horak of the Pacific Film Archive at UCLA and Dan Streible and Juana Suarez from NYU. Even if this archive in Xiamen is not yet organised in a manner that would allow to systematically research their holdings, it is one that will stake its presence soon.

The Film Festivals and Restoration Forum at Xiamen University, July 2019

The restoration part of the conference itself was particularly interesting, not least because it allowed for encounters with archivists from China and various other Asian countries who spoke about their work. Several of the speakers had been invited by Prof. Ray Jing, a well-known archivist and anthropologist and long-standing director of the Taipei Film Archive, whose new venture is the Film Collector’s Museum (see Jan Christopher Horack’s blog entry on his subsequent visit to Taiwan and encounter with Jing). I was particularly impressed with the account given by an amateur archivist from Lanzhou, the capital of the remote province of Gansu, who is struggling for the preservation of rich material that he has discovered after the closure of older local cinemas.

Most importantly, the event included screenings of rare restored material with introductions given by Asian archivists who elaborated on how the films were brought back to life. The programme included early ethnographic films made about Yunnan province’s numerous ethnic minorities in the 1950s, for example. But there were also screenings of several other restorations of Asian films – including the Thai classic Santi-Vina (1954) which had long been believed lost and the Singaporean gongfu extravaganza Fist of Fury (1973), which had been banned at the time of making and only now restored and shown.

Scene from the restored Thai classic Santi-Vina (1954)

In listening to the amazing stories of these restorations as told by archivists such as Sanchai Chotirosseranee of the Thai Film Archive and Karen Chan of the Asian Film Archive, I felt I was particularly inspired to realise the extent of transnational collaborative preservation efforts that each one of these stories revealed. It was also clear that film festivals had played an important part in each case. So, as someone who believes in cinema’s transnational essence and the key role of film festivals in global circulation, I felt I wanted to create a resource that would showcase these important aspects of global archiving. So I invited the archivists from Thailand and Singapore to write accounts on the discovery and restoration of the films they were presenting at Xiamen. I also asked two of the doctoral students from our programme at the University of St Andrews to conduct interviews with prominent figures involved with preservations efforts in Asia – such as Bede Cheng of L’Immagine Ritrovata in Hong Kong and Nick Deocampo from the Philippines. The dossier we created will be published in June 2020 as part of the next issue of Frames Cinema Journal.


Dina Iordanova is Professor of Global Cinema and Creative Cultures at the University of St Andrews in Scotland, and director of the eponymous Institute. She has worked extensively on the dynamics of global film industries and transnational film cultures, with focus on non-Western cinematic traditions and contexts. The forthcoming dossier on Archives and Preservation in Asia which she curated for Frames Cinema Journal 17 will be published in June 2020. It contains contributions from the Philippines, Hong Kong, Singapore and Thailand.


Disclaimer: The IAMHIST Blog is a platform that offers individual scholars the opportunity to present their work and thoughts. They alone are responsible for the content, which does not represent the view of the IAMHIST council or other IAMHIST members.

Working in and with German Archives on German-German Media History

Mandy Tröger, University of Munich (LMU)

27 March 2020


This blog post addresses international media scholars whose research focus is Germany and German-German media history. The term ‘German-German’ refers to the history of cross-border media relations between both German states, the Federal Republic of Germany (FRG) and the German Democratic Republic (GDR), until German unification in 1990. This research leads you to working in German archives. I want to share my experience of doing archival research for my doctoral thesis on the transition of the press in the GDR 1989/1990. The focus of my thesis lay on structural conditions and shifts; I was particularly interested in the political and economic influences of different interest groups from the FRG. I tried to access archival material showing the dealings of West German political and economic players, however this became a problem and I want to show you the different ways I used to get around it.

In the end, the findings of my dissertation were entirely based on primary and semi-primary sources; I used secondary literature only if primary sources left gaps in the overall narrative. I worked in eleven public and non-public (publishers, association etc.) archives, and seven private collections. In addition, I held seventeen non-biographical interviews. This blog post summarizes what I have learned from this process.

The “Politics of Memory” in Germany

In various ways, archives are places of institutionalized “politics of memory” (Brown and Davis-Brown, 1998). In Germany, the policy of national archives is such that all files classified as “GDR” are generally open to the public (even if they contain material from after 1990). The National Archive in Berlin (BArch) holds the majority of “GDR” records. Files of the same time period labeled “FRG” are closed for at least thirty years to protect individual rights and potentially sensitive information of economic and political interest groups. The consequences of this imbalance for historical research are serious and well-known among archivists and historians in Germany. They relate to a broader political agenda to the writing and construction of German-German history. They also partly explain the often one-sided and GDR-centric approaches in current German-German history writing.

The holdings of the Wendemuseum in Los Angeles

Three ways to access archives

However, the transition period in the GDR in 1989/1990 cannot be thought of without the political, economic and social relations, pressures and affiliations to the Federal Republic. Not having had access to these files, made it necessary to adopt different strategies.

First, the filing of “requests to shorten the term of file protection” (Antrag auf Schutzfristenverkürzung) to be granted access to classified federal documents in the National Archives in Koblenz and Berlin. The archive in Koblenz holds the files of the Federal Ministry of the Interior (Bundesministerium des Inneren, BMI) responsible for media related issues. Berlin holds, for instance, those of the trust agency Treuhandanstalt. These requests are generally complicated and can take years. I was granted access to files of the BMI at the National Archive in Koblenz; two requests for the trust agency Treuhandanstalt in Berlin have been in process for four years and were just recently granted.

Second, the issue of classified access made the archives of political foundations affiliated with individual parties (Stiftungsarchive) more important. These archives are in general dispute with the national archive over new acquisitions. At times, they hold files of politicians who worked on a federal level. For instance, the Archive of Liberalism of the Friedrich-Naumann Foundation for Freedom, affiliated with the liberal Free Democratic Party (Freie Demokratische Partei, FDP), holds the record of several members of the FDP’s federal media commission. The Green Memory Archive (Archiv Grünes Gedächtnis) of the Böll Foundation and the Green Party in Berlin holds the estate of Gerhard Bächer, former representative of the Green Party at the Media Control Council (Medienkontrollrat, MKR) founded in 1990 (see Becker-Schaum, 2009). The Archive of Democratic Socialism (Demokratischer Sozialismus, ADS) of the Rosa Luxemburg Foundation and the leftist party DIE LINKE in Berlin holds the estate of interim prime minister and later member of the German Bundestag, Hans Modrow (see ADS, n.d.). These archives have individually negotiated classified periods, and are generally easier to access.

The third way around the issue of access lay in the “GDR” files themselves. Since classification matters, not content, detailed communication between various East and West German interest groups can, if traced thoroughly, be found in these files. The part of my thesis telling the complicated story of early West German market interests in the building of a monopoly-like press distribution in East Germany was based on the files of the East German Ministry of Postal and Telecommunication (Ministerium für Post- und Fernmeldewesen, MPF). Labeled “GDR,” these files are open for research, even though several still-existing German interest groups might have good reasons for wanting to keep this communication off record.

Other relevant archives

Another important archive for GDR-media in 1990 was the ID-Archive at the International Institute for Social History (IISH/ID-Archive MKR) in Amsterdam. It holds an extensive collection (forty-two boxes) of the East German Media Control Council (MKR). This collection was transferred to the IISH/ID-Archive MKR in 1997. It contains minutes of the MKR-meetings, correspondence and documents regarding the reshaping of the media landscape (radio, television, newspapers and publishing houses) in the GDR in 1990, and an extensive collection of press clippings 1989-1990.

Also, the extensive library on media (policy) books in the corporate archive library of Axel Springer Publishers and the collection of the Wendemuseum in Los Angeles were valuable. Both allowed access to a variety of media-related sources.

The holdings of the Wendemuseum include the estate of the former General Secretary of the Socialist Unity Party of Germany (SED), Erich Honeker, including his library

In particular the private (personal) collections took a central role in the original research. During the transition period, with fast institutional changes, it was common for those working at ministries, newspapers, publishers or in civic groups to take files home once the job was done and no archive was in charge of storing documents.

Expert interviews

Expert interviews further contributed greatly to my thesis. The communication with over twenty interview partners was, at times, extensive. The interviews were non-biographical, my questions related to a specific subject matter at hand, such as the dealings of a ministry, a newspaper or media policy institution. My goal was to fill gaps that could not have been filled based on archival material alone. This is important, especially for the transition period. During this fast-paced period, much of the communication happened verbally and/or was not documented systematically but noted by hand on pieces of paper. This was partly due to the grassroots like character of reform institutions (such as the Round Table or the MKR) and the often non-professional background of their members, as well as to institutional shifts more generally. Thus, archival holdings often contain numerous pieces of hand-written notes and papers that require context to make sense of them, and this context can often only be provided by those who were directly involved. This is an encouragement to step out of the archive and reach out to them.


Bibliography

ADS, n.d., ‘Bestände/Findbücher, Rosa-Luxemburg-Stiftung’, https://www.rosalux.de/stiftung/historisches-zentrum/archiv/bestaende-findbuecher/ (accessed: January 10, 2018).

Becker-Schaum, Christoph, 2009, ‘Der Archivbestand Gerhard Bächer und die Grüne Partei in der DDR’, Grünes Gedächtnis, pp. 71-76, http://www.boell.de/sites/default/files/uploads/2014/06/jb_2009_-_cbs_archivbestand_gerhard_baecher.pdf (accessed: May 25, 2016).

Brown, Richard Harvey, and Beth Davis-Brown, 1998, ‘The making of memory: the politics of archives, libraries and museums in the construction of national consciousness’, in History of the Human Sciences, 11/2, pp. 17-32.


Mandy Tröger, PhD, is an Assistant Professor at Ludwig-Maximilians-University in Munich, Germany. Dr Tröger received her doctorate from the Institute of Communications Research (ICR) at the University of Illinois at Urbana-Champaign (UIUC) in 2018. From 2015 until 2017, she was a PhD-Fellow of the Heinrich Böll Foundation in Berlin, Germany. Parts of her dissertation, ‘On Unregulated Markets and the Freedom of Media: The Transition of the East German Press after 1989’, have been translated into German, and have been published in a German-language book, Pressefrühling und Profit, in 2019.


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