A book as polycentric as this can hardly end with a tidy conclusion; nonetheless, a few broader consequences and contextualizations may be drawn. Although, as noted early on, this book does not claim to offer an overall history of its period from 1948 to the 1970s (with a brief foray into the 1990s for Straub and Huillet), it is nonetheless evident that a different periodization is offered here from previous synoptic works on late modernism. A good contrast may be found in Huyssen's After the Great Divide, published at the height of the postmodernism debate in the 1980s. The Differentiation of Modernism is concerned with the period preceding postmodernism, but its marking of that period is distinct from Huyssen's, for a number of reasons. The main reason for the difference is the greater stress on media as motors of history (rather than Huyssen's model, which was to some extent still inspired by German 1970s politicized Sozialgeschichte). This attention to media is itself indebted to Luhmann and kittler, who both published crucial works at around the same time as Huyssen in the mid-1980s (Soziale Systeme, 1984; Aufschreibesysteme, 1985). Another difference is that the arts emphasized here are not the same as Huyssen's (or, for that matter, Fredric Jameson's in his own Postmodernism of 1991). Visual art and architecture—which gave postmodernism its key definitions—yield pride of place to film and music, which follow different periodizations.