This chapter provides a practitioner’s point of view on diplomatic images. The author is positioned to give a unique perspective as a freelance photographer who is currently based in Singapore, which has recently become a significant city-state for major global diplomatic events. Through his first-hand experiences of covering high-profile international diplomatic events, such as the 2018 Trump-Kim Summit held in Singapore, the author takes us backstage and demonstrates how famous diplomatic images are produced to represent the affective register of the moment. In so doing, the chapter illuminates the situational context of the photographer in taking diplomatic images, offering insight into the editorial process in which diplomatic images are produced by the media.

Chapter 2 outlines Ludwig Erhard’s efforts to position West Germany as a Cold War partner to the United States, as pledged during a visit to Lyndon Johnson’s ranch in December 1963. Defense minister Kai-Uwe von Hassel strongly advocated German participation in a NATO multilateral nuclear force (MLF); and he and Erhard signed off on a $1.35 billion offset agreement calling for massive purchases of U.S. weapons. They also agreed to a secret scheme to funnel surplus U.S.-built M-48 tanks to Israel. The Bundestag refused to sanction German deployments overseas, however – whether peacekeeping in Cyprus or a field hospital to Vietnam. “Gaullists” within Erhard’s CDU/CSU party, notably Franz Josef Strauss, complained about Erhard’s neglect of France, and his decision to placate Johnson by refusing a trade mission to China. Motion toward German unity remained stalled; Erhard’s idea of “buying off” the USSR with massive economic aid went nowhere, as did Gerhard Schröder’s policy of “small steps” toward the East. A holiday pass arrangement allowing visits across the Berlin Wall, arranged by Mayor Willy Brandt, offered the strongest evidence for Germans’ sense of belonging together.

This chapter examines Brecht’s complicated relationship with the German Democratic Republic and its leaders.In 1948, after the end of World War II, Brecht returned to Germany and ultimately settled in East Berlin in the GDR, where he became the artistic leader of the famous Berliner Ensemble, the most influential postwar theater group in the world. However, because of his revolutionary approach to drama and aesthetics, Brecht quickly ran into conflict with East German leaders and had to endure a series of criticisms and accusations against himself and his artistic collaborators. Brecht also sought to democratize and liberalize the artistic and cultural sphere of the GDR. Ultimately, Brecht’s relationship with socialist leaders in the GDR represented a push-pull and give-and-take. Each side had to compromise, and each side received something in return. Brecht received his own theater and the ability to perform plays as he wished, while the leaders of the GDR were able to bathe in the glory of Brecht’s international artistic success.