Download e-book for iPad: The Many Faces of Weimar Cinema: Rediscovering Germany's by Christian Rogowski

By Christian Rogowski

ISBN-10: 1571134298

ISBN-13: 9781571134295

Routinely, Weimar cinema has been equated with the paintings of a handful of auteurist filmmakers and a restricted variety of canonical movies. usually a unmarried, restricted phenomenon, "expressionist film," has been taken as synonymous with the cinema of the total interval. yet in fresh many years, such reductive exams were challenged through advancements in movie thought and archival learn that spotlight the great richness and variety of Weimar cinema. This widening of concentration has introduced cognizance to concerns similar to movie as commodity; questions of know-how and style; transnational collaborations and nationwide identification; results of alterations 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 latest info to be had, now augmented by means of the elevated availability of movies from the interval on DVD. This wealth of latest resource fabric calls fora re-assessment of Weimar cinema that considers the legacies of lesser-known administrators and manufacturers, well known genres, experiments of the inventive avant-garde, and nonfiction movies, all of that are elements attended to by way of the essays during this quantity. members: 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 collage.

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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)

Sample text

Freud’s understanding of war neurosis suggests that the condition is caused by the conflict between the individual’s concern for his own survival and his duty to the state (213). As the war progressed, psychologists and psychiatrists debated whether this form of mental illness was, in reality, a malingering condition. ”5 In his 1916 address to the War Congress of the German Association for Psychiatry, Robert Gaupp breaks down war neurosis into neurasthenia, with symptoms of chronic fatigue resulting from WAR TRAUMA IN ROBERT REINERT’S NERVEN 35 service on the frontlines, and male hysteria, resulting from a predisposition to illness (Gaupp, “Kriegsneurosen,” 360).

With the end of the war in November 1918, German censorship laws that had been in effect since 1906 were abolished. 3 With prostitution and homosexuality as their respective topics, both films challenged the German state’s right to legislate sexual behavior. Medical professionals, intellectuals, and politicians spanning the range of the political spectrum accused Oswald and Hirschfeld of creating films that encouraged rather than discouraged sexually permissive behavior among audience members. The popularity of the Oswald/ Hirschfeld films, particularly with urban audiences, spawned an entire crop of films by lesser-known directors with titles meant to both allure and horrify — Das Gift im Weibe (The Poison in Woman, 1919), Hyänen der Lust (Hyenas of Lust, 1919), and Im Rausche der Sinne (Intoxicated with Sensuality, 1920) — that appealed to the public’s prurient desires (Hagener, 170–74; Steakley, 190).

This is followed by a returning image of the forlorn mother, whose association with the battlefield is revealed by the intertitle: “Mother! ” In desperation, the mother flails her arms in the air. In contrast, the son’s final movements become increasingly sexualized — he places his fist on his heart and grabs his throat; finally he runs his hand down his leg as if in a state of ecstasy (fig. 2). Nerven’s initial montage sets up a correspondence between the battlefield and the home front. The mother feels the son’s death even though they may be hundreds of miles apart.

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The Many Faces of Weimar Cinema: Rediscovering Germany's Filmic Legacy (Screen Cultures: German Film and the Visual) by Christian Rogowski


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