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But elsewhere things are more down-to-earth. When German-born rocket ex- pert Werher von Braun stands in front of a blackboard and starts teaching the audience about the thrust power of a so-called V2 rocket by means of diagrams and mockups, then that is a classic educational film as they are still known even today (see Fig. 21). Another attraction is the classic adventure movie. There is, for example, a live-action sequence from “Man and the Moon” about the dra- matic first orbit around the moon (see Fig. 22 a-c). During this journey the crew of the spaceship has some problems with hitting rocks. When the space- and mockups, then that is a classic educational film as they are still known even

Figure 21 But elsewhere things are more down-to-earth. When German-born rocket ex- pert Werher von Braun stands in front of a blackboard and starts teaching the audience about the thrust power of a so-called V2 rocket by means of diagrams and mockups, then that is a classic educational film as they are still known even today (see Fig. 21). Another attraction is the classic adventure movie. There is, for example, a live-action sequence from “Man and the Moon” about the dra- matic first orbit around the moon (see Fig. 22 a-c). During this journey the crew of the spaceship has some problems with hitting rocks. When the space- and mockups, then that is a classic educational film as they are still known even

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Fig. la—b: Visualization of the Space Race: the front-page of the August edition of the popular sci- entific magazine Popu/ar Mechanics from 1956 on one side; on the other side the front page of the news magazine Tie December 6th 1968.
Fig. la—b: Visualization of the Space Race: the front-page of the August edition of the popular sci- entific magazine Popu/ar Mechanics from 1956 on one side; on the other side the front page of the news magazine Tie December 6th 1968.
Fig. 3: Start of the Space Race: the newspa- per Bild visualizes Sputnik over Berlin on their front page on October 7th 1957. Fig. 2: The global village hears the Sputnik signals - Front page drawing of Komsomolskaja Pravda on October 6th 1957.
Fig. 3: Start of the Space Race: the newspa- per Bild visualizes Sputnik over Berlin on their front page on October 7th 1957. Fig. 2: The global village hears the Sputnik signals - Front page drawing of Komsomolskaja Pravda on October 6th 1957.
This race meanwhile wasn’t just one for the technical and military supremacy in space but served furthermore and probably above all to demonstrate this supremacy within the mass media.
This race meanwhile wasn’t just one for the technical and military supremacy in space but served furthermore and probably above all to demonstrate this supremacy within the mass media.
Fig. 4: Speculations about a possible near civic future, in: Saence Digest 53 (1958).
Fig. 4: Speculations about a possible near civic future, in: Saence Digest 53 (1958).
Fig. 8: Photographed directly from the television screen: Men on the moon in Pravda, June 21st 1969, p. 5. Fig. 6: For all Mankind (?): Buzz Aldrin on the moon in front of the American flag.
Fig. 8: Photographed directly from the television screen: Men on the moon in Pravda, June 21st 1969, p. 5. Fig. 6: For all Mankind (?): Buzz Aldrin on the moon in front of the American flag.
Fig. 7: A small step for a music channel, a big step for Mankind (?): MT'V starts airing on August Ist 1981, at 12.01 a.m. Fig. 5: Live-transmission of the first step of a human being on the moon - apparently in such poor quality that CBS had to transcribe the event.
Fig. 7: A small step for a music channel, a big step for Mankind (?): MT'V starts airing on August Ist 1981, at 12.01 a.m. Fig. 5: Live-transmission of the first step of a human being on the moon - apparently in such poor quality that CBS had to transcribe the event.
Fig. 10: The celebration of Ziolkowskis 100th birthday in Kaluga on September 15th 1957.
Fig. 10: The celebration of Ziolkowskis 100th birthday in Kaluga on September 15th 1957.
Fig. 11: Museumization of Ziolkowski.
Fig. 11: Museumization of Ziolkowski.
Fig. 12: The first men on the moon: Soviet cosmonauts. Fig. 9: ‘The cosmic visionary: Konstantin E. Ziol- kowski (1859 — 1935).
Fig. 12: The first men on the moon: Soviet cosmonauts. Fig. 9: ‘The cosmic visionary: Konstantin E. Ziol- kowski (1859 — 1935).
Fig. 13: Cosmonauts in the common room of a space station in earth’s orbit.
Fig. 13: Cosmonauts in the common room of a space station in earth’s orbit.
Fig. 15: The Red Square in an- ticipation of the first human in space. Fig. 16: The signature of the dialectic image logic. Fig. 14: Cosmonauts by them- selves — and under Lenin.
Fig. 15: The Red Square in an- ticipation of the first human in space. Fig. 16: The signature of the dialectic image logic. Fig. 14: Cosmonauts by them- selves — and under Lenin.
Fig. 18: ‘Workers of the world unite!’: Collective effort in the Disney studios.
Fig. 18: ‘Workers of the world unite!’: Collective effort in the Disney studios.
Fig. 19a—c: Disney’s cinematic memory: From A Trip to the Moon (1902) to Woman in the Moon (1929) to several adaptations of the novel War of the Worlds (1901) in the 1950 and 1960s.
Fig. 19a—c: Disney’s cinematic memory: From A Trip to the Moon (1902) to Woman in the Moon (1929) to several adaptations of the novel War of the Worlds (1901) in the 1950 and 1960s.
Fig. 17: Walt Disney plans the journey to the moon.
Fig. 17: Walt Disney plans the journey to the moon.
Fig. 20: Rocket thrust: Cinema of Attraction.
Fig. 20: Rocket thrust: Cinema of Attraction.
Fig. 21: Education for the Masses. Werher von Braun as teacher. Fig. 22a-c (right): Mission to the dark side of the moon.
Fig. 21: Education for the Masses. Werher von Braun as teacher. Fig. 22a-c (right): Mission to the dark side of the moon.
Fig. 23: Life on Mars. The presentation of the world and development processes that is shown by this image practice is completely diametrically opposed to the image logic man- ifested in Road to the Stars. In Tomorrowland we are dealing with hybrid images and image sequences. Image material which is heterogeneous and ontologically on completely different levels is blended, fact and fiction are entitely thrown
Fig. 23: Life on Mars. The presentation of the world and development processes that is shown by this image practice is completely diametrically opposed to the image logic man- ifested in Road to the Stars. In Tomorrowland we are dealing with hybrid images and image sequences. Image material which is heterogeneous and ontologically on completely different levels is blended, fact and fiction are entitely thrown
Fig. 24a—b: Robert Goddard once depicted in the original photography (a) and once in Disney’s edited illustration (b).
Fig. 24a—b: Robert Goddard once depicted in the original photography (a) and once in Disney’s edited illustration (b).
Fig. 25a—b: Hermann Oberth and the first German rocket association in Tomorrowland.
Fig. 25a—b: Hermann Oberth and the first German rocket association in Tomorrowland.
Fig. 26: Image pile a la Disney.
Fig. 26: Image pile a la Disney.
Fig. 27a—b: Disney’s Tomorrowland (a) vs. Road to the Stars (b).
Fig. 27a—b: Disney’s Tomorrowland (a) vs. Road to the Stars (b).
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Cold War and CultureOuter Space Law
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