«In 1947, many phenomena took shape. This year defined what our lives would look like after the war, the discussion about the rights of minorities began, and the question of refugees arose, as there were many of them throughout Europe...
at that time. At the same time, people debated what it was like to be a woman in this world, how music and art would develop further, whether the language used before the war could still be used, and if one could talk about the war in it,» — thus described her 1947 by Swedish writer and journalist Elisabeth Olsbrink, who managed to combine facts and images, the 'big' external history and the 'small' history of her family in a poignant documentary-artistic investigation of the year that laid the foundations of the 'post-war order of the world', which had long seemed invulnerable.
«In 1947, many phenomena took shape. This year defined what our lives would look like after the war, the discussion about the rights of minorities began, and the question of refugees arose, as there were many of them throughout Europe at that time. At the same time, people debated what it was like to be a woman in this world, how music and art would develop further, whether the language used before the war could still be used, and if one could talk about the war in it,» — thus described her 1947 by Swedish writer and journalist Elisabeth Olsbrink, who managed to combine facts and images, the 'big' external history and the 'small' history of her family in a poignant documentary-artistic investigation of the year that laid the foundations of the 'post-war order of the world', which had long seemed invulnerable.
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