By Christian Rogowski
Characteristically, Weimar cinema has been equated with the paintings of a handful of auteurist filmmakers and a constrained variety of canonical movies. frequently a unmarried, restricted phenomenon, "expressionist film," has been taken as synonymous with the cinema of the total interval. yet in contemporary many years, such reductive exams were challenged via advancements in movie conception and archival examine that spotlight the super richness and variety of Weimar cinema. This widening of concentration has introduced awareness to matters resembling movie as commodity; questions of expertise and style; transnational collaborations and nationwide id; results of adjustments in socioeconomi and gender roles on movie spectatorship; and connections among movie and different arts and media. Such shifts were accompaniedby archival learn that has made a cornucopia of recent details on hand, now augmented via the elevated availability of flicks from the interval on DVD. This wealth of latest resource fabric calls fora second look of Weimar cinema that considers the legacies of lesser-known administrators and manufacturers, renowned genres, experiments of the inventive avant-garde, and nonfiction movies, all of that are points attended to through the essays during this quantity. participants: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P.Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia stroll, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor of German at Amherst university.
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Additional info for The Many Faces of Weimar Cinema: Rediscovering Germany's Filmic Legacy (Screen Cultures: German Film and the Visual)
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Revolution At the same time that Weimar psychiatrists were attempting to treat the epidemic of war neuroses, they blamed the war neurotics for instigating the revolution that brought the German monarchy to an end (Eissler, 47). According to psychiatrist Emil Kraepelin, the German people turned their attention away from the enemy of the First World War and moved instead to a life of inner feelings: they became sleepwalkers, moving through postwar life without conscious action (Kraepelin, 177). ”9 Likewise, physician Helenefriderike Stelzner argues that it is the war neurotic who stimulates the masses on the home front (Stelzner, 409).
He wrote specifically about how filmmakers should portray prostitutes in a way that would strike fear into the hearts of female viewers and actively deter them from following the same path (Oswald, “Der Film als Kulturfaktor,” 104). The figure of the Lustmörder is instrumental to Oswald’s goal of deterrence. With a nod to his own beginnings in the theater, Oswald finishes off the prostitute Lona in the same way that the modernist dramatist Frank Wedekind offs the notorious social-climbing whore Lulu in his 1892 play Die Büchse der Pandora (Pandora’s Box) — with the knife of a Jack-the-Ripper character.
In a 1918 article entitled “Die Kriegsneurasthenie” (War Neurasthenia), for instance, psychiatrist Willy Hellpach notes that neurosis can befall both soldiers at the front and those on the home front (Hellpach, 180). He underscores the threat that the German people face after the war, questioning whether soldiers and front neurotics will carry their neuroses into peacetime. Neurosis thus could be passed on like a plague by soldiers returning from the front. In a similar manner, in 1920 psychiatrist Erwin Stransky wrote that the “physical and psychological cripples and degenerates” (“körperlichen und seelischen Krüppeln und Entarteten”) present a danger of infection not only for the German community but also for the entire world (Stransky, 273).