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J. Schöning (1997)
Triviale Tropen : exotische Reise- und Abenteuerfilme aus Deutschland, 1919-1939
Garth Montgomery (1989)
‘Realistic’ war films in Weimar Germany: entertainment as educationHistorical Journal of Film, Radio and Television, 9
Ulf Hedetoft (1995)
Signs of nations : studies in the political semiotics of self and other in contemporary European nationalism
Wolfgang Kabatek, Kabatek Kino (2003)
Imagerie des Anderen im Weimarer Kino
B. Kester (2002)
Film Front Weimar : Representations of the First World War in German Films from the Weimar Period (1919-1933)
Eberhard Kolb (1988)
The Weimar Republic
Siegfried Kracauer (1947)
From Caligari to Hitler: A Psychological History of the German Film
M. Flavell, Sander Gilman (1982)
On blackness without Blacks: Essays on the image of the Black in Germany
[Scholars traditionally read Weimar film as a symptomatic manifestation of national traditions, longings, and fears. Siegfried Kracauer’s seminal work of 1947, From Caligari to Hitler, identified postwar German film with the three major paradigms customarily associated with Weimar culture as a whole: ominous anticipation of the rise of Nazism, inability to come to terms with the traumatic experiences of World War I, and dispassionate escapism in the face of contemporary crises.1 While present-day scholars reject Kracauer’s focus on the “German soul” and its psychotic pathology, they often share his perception of the essential role of films in the formation of postwar German nationalism.2]
Published: Oct 17, 2015
Keywords: Private Sphere; Social Reform; City Dweller; Modern City; Program Guide
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