Weimar Cinema

El artículo analiza la evolución de las ideas plasmadas por Fritz Lang en M (1931) y reformuladas con posterioridad en Furia (1936), explorando su relación con el populismo y la justicia en contextos democráticos en crisis. Se destaca la crítica de Gabriele Tergit a M, señalando su ambigüedad respecto a la venganza y los tribunales populares, en un periodo marcado por la inestabilidad de la República de Weimar. Lang, inicialmente influenciado por esta atmósfera, muestra en M un discurso que se presta a lecturas populistas. Sin embargo, su exilio y su inserción en Hollywood lo llevan a reformular su visión en la posterior Furia, donde denuncia el linchamiento y aboga por la justicia institucional. A través del análisis comparativo de ambas películas, el artículo explora el paso de una posición moralmente ambigua hacia una más cercana al liberalismo clásico, y cómo dichas ideas están marcadas por los cambios políticos y sociales entre la Alemania de entreguerras y la democracia estadounidense de los años treinta.

El artículo busca un balance entre las interpretaciones más tradicionales y las más novedosas del cine expresionista alemán. Así, se comienza exponiendo las dificultades que entraña la definición del término. Eso no impide el reconocimiento de Murnau como cineasta pictórico, de hecho, adoptó el apellido de Murnau (frente al originario Pumpe) en honor del lugar donde Kandinsky y Münter llevaron a cabo los cuadros más significativos del expresionismo lírico. El director hizo parte de su carrera en Alemania y parte en América. Él consideraba que el código del cine era por esencia icónico, de ahí que para él la película ideal fuera la que carecía de palabras. Igualmente, de esa posición estética se derivan sus reticencias ante el cine sonoro. Faust. Eine deutsche Volkssage (1926), la última película de Murnau en Alemania, con múltiples referencias a las diversas visiones literarias del mito, es una obra de arte total por la cantidad de elementos procedentes de otras artes que introduce, los cuales son sintetizados en el crisol cinematográfico. "cine expresionista"; "esencia icónica del cine"; "expresionismo lírico"; "mito fáustico"; "obra de arte total"

Manuel Villegas López (1906-1981) fue uno de los críticos cinematográficos más importantes surgidos en España durante la Edad de Plata. A lo largo de su carreta se hizo eco del cine alemán de la época de Weimar tanto en su labor de crítico como de historiador del cine. El artículo estudia la valoración que realizó de aquella cinematografía en los años treinta del siglo pasado. Para ello se recurre a las críticas, artículos y conferencias que escribió. Villegas se sintió deslumbrado por títulos como Varieté (Varieté , 1925), La melodía del corazón (Melodie des Herzens, 1929), Hampa (Berlin Alexanderplatz, 1931), La canción de la vida (Das Lied vom Leben, 1931), Muchachas de uniforme (Mädchen in Uniform, 1931), Karamasoff, el asesino (Der Mörder Dimitri Karamasoff, 1931) o la coproducción franco-alemana Ariane, jeune fille russe (1932). Y advirtió del peligro que entrañaban Crepúsculo rojo (Morgenrot, 1933) y el cine nazi.

Este artículo presenta un panorama de la primera recepción crítica de la película alemana El gabinete del doctor Caligari (1920) en Alemania y Francia. A partir de la reconstrucción de los principales debates que rodearon la película en un contexto social y artístico posterior a la Primera Guerra Mundial, será posible notar cómo Caligari plantea discusiones muy productivas en cuanto al establecimiento de criterios, teorías y perspectivas cinematográficas que paulatinamente se convertirán en constantes en el vocabulario de la crítica cinematográfica especializada. En este sentido, conceptos como unidad plástica y rítmica, atmósfera, estilo, expresividad social o incluso el parentesco con la tradición y con géneros literarios como la novela policíaca serán la base de un esfuerzo teórico que, si bien fluctúa en el rigor con que se operan, condensa o incluso anuncia todo un vocabulario crítico que luego cristalizará en el análisis fílmico de las cinematografías nacionales nacionales y sus transformaciónes en el auge del cine mudo, en el advenimiento del cine sonoro y en la formación del cine moderno.

Rezensiert für H-Soz-Kult von Martin Kohlrausch, Faculty of Arts, Katholieke Universiteit Leuven Redaktionell betreut von Christoph Classen Alfredo Thiermann Riescos "Radio-Activities. Architecture and Broadcasting in Cold War Berlin" ist eine so ungewöhnliche wie originelle Studie. Ausgehend vom Funkhaus Berlin-Nalepastraße, einem massiven, in den 1950er-Jahren errichteten Gebäudekomplex im Stil des Backsteinexpressionismus, ergründet Thiermann Riesco Radio als historische Struktur der deutschen Zeitgeschichte und geht dabei über diese theoretisch und methodologisch weit hinaus. Radio-in der weiteren Bedeutung, die der Begriff im Englischen hat-wird hier als neue, für das 20. Jahrhundert spezifische Wahrnehmungsform herausgearbeitet und in der materiellen Herausforderung eines unsichtbareren und gleichzeitig neue Verbindungsknoten schaffenden Mediums erörtert.

In 2022, 3dtotal Publishing became successful enough to make a pledge to donate 50% of its net profits to charity. This continues to be possible due to the incredible support from all our customers, employees, and partners. At the time of printing, we have donated over $1.45 million (USD) to charity. We focus our giving on three charitable environmental, humanitarian, and animal welfare . We use organizations such as Effective Altruism and Founders Pledge to guide who we help within these causes. Some ways of doing good are over 100 times more effective than others, so donating this way hugely increases the impact of contributions. for full details.

Cultural representations have a plasticity to their meaning, which is ascribed rather than inherent and is thus informed as much by the viewer’s own subjectivities as by the creator’s intentions. For monsters in particular, which represent a generalized Otherness, these interpretations can reinforce existing anxieties and prejudices. Through a study of two well-known "monster" films from the Weimar period, The Golem and Nosferatu, I discuss the ways in which the language of Otherness deployed in both films coincides with antisemitic tropes. While it is likely that neither film was intended to be antisemitic, applying Roland Barthes' framework of the Death of the Author to both films complicates our understanding of how they were interpreted by their original audiences.

Film has the power both to reinforce viewer subjectivities and to be mobilized in service of an ideology. By reconceptualizing film through a functionalist lens whereby we interrogate its tangible impact, we also expand how to think historically about film. Film cannot be reduced to a consumable product or a barometer of societal attitudes, but rather as an agent in its own right.

El cine de la República de Weimar (1918-1933), entendido bajo el parapeto de su expresionismo tortuoso y el realismo descarnado de la Neue Sachlichkeit, resucita en el siglo XXI a través del videojuego Bloodborne (FromSoftware, 2015). Este artículo, más allá de rastrear influencias estéticas (arquitecturas oblicuas, claroscuros angustiantes, figuras liminales), reflexiona acerca de cómo el título de acción subvierte la pasividad del espectador tradicional y reinterpreta la narrativa weimariana. En el videojuego, las calles de Yharnam, que mantienen similitudes a los laberintos oblicuos que recuerdan a El gabinete del Dr. Caligari, son prisiones interactivas donde el jugador encarna la dualidad humana/bestia, heredera de los doppelgängers monstruosos. Mediante un cruce interdisciplinar entre análisis fílmico, teoría de lo siniestro y estudios de ludonarrativa, el artículo revela cómo Bloodborne convierte la alienación posbélica, la corrupción, el inconsciente colectivo hacia el miedo a la otredad en mecánicas jugables. Al forzar elecciones éticas irreversibles (sacrificar civiles para sobrevivir, pactar con dioses amorales), el videojuego trasciende el homenaje estético y actualiza las advertencias de Kracauer: el horror no es una fantasía, es un síntoma de sociedades al borde del colapso. De esta forma, Bloodborne emerge como un espejo deformante de nuestra era: sus plagas digitales y polarizaciones sangrientas dialogan con las pandemias históricas y las crisis identitarias que hoy nos acechan. En este sentido, el legado de Weimar no se repite: se juega.

In un suo aforisma, il fisico e scrittore Georg Christoph Lichtenberg (1742-1799) scrive che «in tedesco, denaro (Geld) fa rima con mondo (Welt); non è possibile che vi sia una rima più ragionevole: sfido tutte le altre lingue». Non stupisce, allora, che circa un secolo più tardi sia stato un altro autore tedesco a elaborare una riflessione sul denaro come simbolo della propria epoca. Si tratta del filosofo e sociologo Georg Simmel, nato a Berlino nel 1858, autore di Filosofia del denaro (Philosophie des Geldes). Pubblicato nel 1900, poi riveduto e ampliato nel 1907, Filosofia del denaro inaugura il Novecento facendosene portavoce. Un'opera monumentale non soltanto per le sue dimensioni, ma anche per l'estensione dei temi trattati: l'obiettivo dichiarato nella Prefazione alla seconda edizione è infatti quello di «tracciare una linea direttrice che vada dalla superficie del divenire economico fino ai valori e ai significati ultimi dell'umano nella sua totalità» (G. Simmel, Filosofia del denaro, a cura di A. Cavalli e L. Perucchi, UTET 1984, p. 87). Tale dichiarazione d'intenti mette in luce il modo di filosofare tipico di Simmel, che consiste nel muovere dalla «superficie della vita», ossia da situazioni comuni o da oggetti d'uso quotidiano, fino allo «strato ideale che è sempre sotteso a tutti i suoi fenomeni» (id., Saggi di cultura filosofica, Guanda, 1985, p. 10). Ciò viene portato avanti sapendo che giungere a un sistema filosofico definitivo, così come a una verità assoluta, è una pretesa tanto necessaria alla pratica filosofica soggettiva quanto impossibile da realizzare una volta per tutte.

Apresenta uma profunda e contundente análise de uma prática colonial amplamente silenciada nos registros tradicionais da história: a exposição de seres humanos como espetáculo nos chamados "zoológicos humanos". Trata-se de um estudo rigoroso sobre a instrumentalização do corpo de pessoas de diversos povos dominados pelas potências imperiais europeias, principalmente africanas, indígenas e asiáticas, transformadas em objeto de curiosidade, controle e dominação nos séculos XIX e XX. A autora, por meio de uma abordagem interdisciplinar, evidencia com a análise de fotografias como essas exibições compunham uma engrenagem imperialista que unia pseudociência, racismo, espetacularização e violência colonial.

Walter Benjamin, the most inspiring Marxist philosopher of modernity and of history, linked to the Frankfurt School of critical theory, ‘took seriously the debris of mass culture as the source of philosophical truth’ (Buck-Morss 1991, ix). While his texts on photography, signs, puzzles, toys, and Micky Mouse, have been widely discussed, Benjamin’s explicit remarks on caricature in the article on Eduard Fuchs as the collector and historian of popular prints (Benjamin 1937; Benjamin 1975), or those that crop up in the citations assembled for his unfinished work on nineteenth-century Paris The Arcades Project (Benjamin 1999), have passed almost unnoticed in the scholarly literature. Are Benjamin’s thoughts on caricature no more than a blind alley in his gigantic philosophical output, or do they constitute a blind spot in Benjamin scholarship? Furthermore, are they relevant for cartoon studies today?

Na década de 1820, pelo menos sete Botocudos de Minas Gerais (duas mulheres, quatro homens e uma criança) viviam na Europa, onde mais três crianças nasceram. Três deles residiram em lares de famílias imperiais ou nobres na Áustria e na Alemanha, enquanto outros quatro foram exibidos ao público na Inglaterra, Alemanha, Países Baixos e Bélgica, atraindo considerável atenção. Apenas um retornou ao Brasil, enquanto os restos mortais de pelo menos três se tornaram parte de coleções museológicas. Este artigo descreve as experiências desses testemunhos involuntários da diversidade cultural, inserindo-as no contexto da história de povos indígenas levados à Europa. Além disso, explora as motivações de seus "coletores", as estratégias empregadas na exibição desses indivíduos e o impacto dessas práticas na percepção pública de "primitividade", abordando tanto a alteridade quanto a humanidade compartilhada. Embora tenham sido apresentados ao público europeu como exemplos de um povo supostamente antropófago, colocado no nível mais baixo de desenvolvimento cultural, todos foram reconhecidos como seres humanos e, frequentemente, indivíduos cativantes.

This chapter explores how the visual world of Berlin artist Heinrich Zille shaped a subgenre of Weimar-era street films between 1925 and 1929. It examines how filmmakers adapted Zille’s depictions of working-class life into cinematic narratives that reflected (and sometimes contested) Germany’s polarized views on poverty, class, and urban modernity. The essay situates these films within broader debates on aesthetic realism, social critique, and the commodification of marginality in interwar visual culture.

This co-edited volume explores the transnational career of Wilhelm Thiele, a pioneer of the sound film operetta, whose work spanned Vienna, Berlin, and Hollywood. The book examines Thiele’s contributions to musical cinema, his exile from Nazi Germany, and his legacy across genres, languages, and continents. Seyfert contributed the chapter “Across Studio Borders: From Hurra, ich lebe (1928) to The Ghost Comes Home (1940)” and co-authored the introduction and conclusion, situating Thiele’s films within broader debates on exile, genre, and cultural memory.

This chapter examines the early impact of Nazi antisemitism on German cinema through the lens of Stefan Zweig’s Burning Secret and Robert Siodmak’s adaptation of it. It explores how shifting definitions of Jewishness (cultural, religious, and racial) shaped censorship practices and contributed to the exile of Jewish filmmakers. The essay complicates assumptions about the Ministry of Propaganda’s early influence and highlights the fragility of cultural assimilation under totalitarianism.

Seit der digitalen Revolution hat sich das Production Design im Film grundlegend gewandelt. Moderne Technologien ermöglichen die vollständige digitale Gestaltung und Prä-Visualisierung von Filmwelten, wodurch physische Kulissen zunehmend durch virtuelle und interaktive Umgebungen ersetzt werden. Pionierarbeit leistete Alex McDowell mit dem Konzept des Worldbuilding, das die Entwicklung komplexer, glaubwürdiger Welten in frühen Projektphasen betont. Auch deutsche Szenenbildner wie Uli Hanisch setzen auf die Kombination aus analogen und digitalen Techniken, um flexible, immersive Räume zu schaffen. Diese Entwicklungen erweitern die Möglichkeiten des Storytellings und verändern die Gestaltung von filmischen Räumen grundlegend.

Teaching Antiquity in Brazilian schools has several challenges, which make reflections and debates about new possibilities and educational approaches necessary. Working with Egyptian antiquity in educational institutions in Brazil requires an understanding of the concepts: Uses of the Past, Egyptomania and Historical Awareness. We understand cinema as an important chain of reception, capable of influencing individuals in the formation of their historical consciousness about Ancient Egypt, often being permeated by an orientalist vision. Understanding the importance of cinema in building students' historical awareness and its pedagogical role, we propose the use of the film The Eloquent Peasant (1970) in History classes in the 6th year of Elementary School, seeking, through it, to discuss essential points about Egyptian culture, philosophy and society of the Middle Kingdom.

O  presente  artigo  é  derivado  da  pesquisa  de  pós  doutorado  intitulada O  Império  da  toalete:  Reflexões  sobre  a  beleza  e  o  seu  reverso  na  Belle  Époque  paulistana  (1870-1929),  que  deu  origem  ao  livro  O  Império  da  toalete: A beleza e a feiura na Belle Époque, publicado no ano de 2023. As páginas seguintes  trazem  reflexões  sobre  a  construção  do  reverso  da  beleza  que  foi  feita através de uma trama de pensamentos, teorias e ações hegemônicas que elegeram  determinados  sujeitos  para  serem  representantes  da  feiura  diante da sociedade no período. Para isso, discursos e ações políticas, científicas, filosóficas  e  sociais,  atuaram  para  fundamentar  a  estética  da  feiura.  Dessa  forma, a feiura esteve em evidência em corpos e rostos estigmatizados como monstruosos, abomináveis, defeituosos, tarados e horríveis, conforme apontaram os discursos e as ações da eugenia.

This  article  derives  from  the  postdoctoral  research  entitled  The  Empire  of  the  Toilet:  Reflections  on  Beauty  and  Its  Reverse  in  the  Belle  Époque of São Paulo (1870-1929), which gave rise to the book The Empire of the Toilet: The Beauty and ugliness in the Belle Époque, published in the year  2023.  The  following  pages  bring  reflections  on  the  construction  of  the  reverse  of  beauty  that  was  made  through  a  web  of  hegemonic  thoughts, theories  and  actions  that  elected  certain  subjects  to  be  representatives  of  ugliness  in  society  in  the  period.  For  this,  political,  scientific,  philosophical and social discourses and actions acted to support the aesthetics of ugliness. Thus, ugliness was in evidence in bodies and faces stigmatized as monstrous,  abominable,  defective,  perverted  and  horrible,  as  pointed  out  by eugenics discourses and actions.

The German-Jewish writer Siegfried Kracauer (1889Kracauer ( -1966) ) developed, among other things,acritical sociology of space and architecture that continues to influences cholarship today. The following chapter explores the lesser-known implications he drew from this work forr eligious phenomena. Kracauer'st heory of religion is not so muchadescriptive studyo fr eligion as an ormative theory of the legitimate place of religiouse xperience in modernity.A ccordingt oK racauer, truth has migrated from the sacred to the "profane." This meanst hat official religions, accordingt oK racauer,a re merelye mptys hells; their former content must be found elsewhere. Churches are empty, and even the modern sacred buildings of new religious movements are at best "demonic" in character.Instead, Kracauer argues, religious experience can be found wherei ti sl east expected: In waiting rooms,h otel lobbies, and the twilight of nightlife. Note: Text and quotations translated by Lars Fischer (The HistoryP ractice, Berlin) Open Access.

Purpose: This paper sheds light on how the film satirizes capitalist society through the theory of commodity fetishism by Karl Marx, paying particular emphasis to visual motifs and character interactions that reaffirm these commodified relationships. It situates these challenges within the frames of Weimar-era feminist discourse. The paper also explores how the protagonist Ossi, subverts gender norms to capture contemporary debates on women's roles. She evokes the tensions between individual agency and societal constraints. Through the film's intense representation of wealth, class, and gender, this paper reveals Lubitsch's critique of economic relationships and social mobility during a tumultuous historical period.
Methodology: This study employs film analysis as its primary method, using textual and discourse analysis to examine the film. The analysis is supported by a theoretical framework drawn from relevant literature and scholarly discussions that align with the topic of commodity fetishism and female agency. This analysis uses Karl Marx's concept of commodity fetishism as a framework to examine the lasting impacts of the film within the context of the economic and social structures of the Weimar Republic. Textual analysis facilitates the identification of the visual motifs and cinematographic techniques used by Lubitsch in relation to his portrayals of relationships and social comment. Each of these interpretative points inspects how the visuals accentuate themes of commodification and capitalist critique. This contextualization establishes the film within the broader socio-political context of Germany in the years following World War 1, addressing the cultural and feminist discourses of the Weimar Republic.
Findings: The analysis indicates that Ernst Lubitsch's film The Oyster Princess employs humor to critique the social, economic, and gender dynamics pervasive in post-World War I Germany during the Weimar Republic. The film illustrates absurd patterns of commodity fetishism through its depiction of how human interpersonal relationships undergo manipulation. The analysis shows the transformation of human connections into transactions dictated by wealth and social standing, thereby prompting reflection on their convergence in an era of rapid change.
Unique Contribution to Theory, Policy and Practice: This analysis of The Oyster Princess contributes to discussions on commodity fetishism by merging economic theory with visual and narrative elements. It shows how gendered perspectives deepen our understanding of commodification and agency and emphasize the interplay of class, power, and identity. The study promotes critical conversation on social inequalities, gender relations, and commodification. It emphasizes how these problems still impact modern society and how crucial it is to stop the commodification of human values to create a more just society.

CALL FOR PAPERS
Communication Journal se complace en anunciar una convocatoria de artículos para su próximo número, dedicado al tema "Cien años del cine de Weimar: el legado del expresionismo alemán, vanguardias y otras miradas experimentales". Invitamos a investigadores/as, académicos/as y profesionales de comunicación, humanidades y artes a enviar manuscritos que aborden la importancia y actualidad del cine de Weimar, así como de sus diferentes miradas cinematográficas, entre las cuales destacan el cine expresionista, la animación abstracta y el realismo social de la nueva objetividad, siendo solo una parte de su amplia gama.

Miguel Hernández Communication Journal is pleased to announce a call for papers for its upcoming issue, dedicated to the theme "One Hundred Years of Weimar Cinema: The Legacy of German Expressionism, Avant-garde, and Other Experimental Perspectives." We invite researchers, academics, and professionals in communication, humanities, and arts to submit manuscripts addressing the importance and relevance of Weimar cinema, as well as its various cinematic perspectives, including expressionist cinema, abstract animation, and the social realism of the New Objectivity, which represent only a part of its wide range.

Im Zuge einer näheren Auseinandersetzung mit der Entstehungsgeschichte der Musikdramen Richard Wagners wird oft zu Wolfram von Eschenbachs Parzival-Epos gegriffen. Was einen dort in über 20.000 paarweise gereimten Versen erwartet, ist ein großartiges Epos, in dessen Verlauf der Ritter Parzival auf seiner Suche nach dem Gral zwischen seinen Abenteuern stets an den Hof des König Artus zurückfindet. Zum unverzichtbaren, engeren Kreis der Tafelrunde um Artus gehört neben Parzival und seinem Sohn Lohengrin auch Sir Tristan mit seinem König Marke, ebenso wie die Gralsbotin Kundry und der Widersacher und Zauberer Klingsor. Diese Namen sind bestens aus den Musikdramen Richard Wagners bekannt, seine Mittelalter-Rezeption steht klar im Kontext der Artus-Romantik ihrer Zeit. Wieso also findet König Artus nicht einmal am Rande Erwähnung in Wagners Schaffen? Die Rolle der Dresdener Bibliothek Eine Spurensuche nach Artus nimmt ihren Anfang bei der Frage nach den stofflichen Grundlagen der Opern. Wie Curt von Westernhagen überzeugend anführt, beruhen nach dem "Holländer" alle, auch die erst später dichterisch und musikalisch ausgeführten Dramen auf Büchern seiner Dresdener Bibliothek [1, S. 28]. Wagner selbst bestätigt in "Mein Leben", dass er sich bei der Konzeption des "Tristans" ganz auf seine "Dresdner Studien" stützen habe können [2, S. 524], obwohl ihm zu diesem Zeitpunkt aufgrund seiner Flucht aus Dresden seine Bibliothek gar nicht mehr zugänglich war.

The article explores the cinematic landscape in the films of Arnold Fanck, undisputed pioneer of the mountain film genre. Following Siegfried Kracauer’s influential critiques, Fanck’s films have often been interpreted as proto-Nazi glorifications of the body and nature, neo-romantic depictions of the sublime, and reflections of post-World War I Germany’s desire for spiritual recovery. This article revisits Pierre Leprohon’s modernist interpretation, offered before Kracauer, which aligns the aesthetic of the mountain landscape in Fanck’s films with the principles of Purism. Leprohon argues that Fanck distanced himself from picturesque romanticism, emphasizing a geometric photogeny defined by light, movement, and stark, linear landscapes. The continuous focus on the intimate relationship between the climber and the rock face, highlighted by numerous close-ups, shifts the emphasis from the mountain as a mere picturesque spectacle—typical of the transient tourist gaze—to a tactile, embodied experience, unique to the climber who creates and inhabits the landscape. This immersive perspective echoes a famous Victorian debate between John Ruskin and Leslie Stephen about how and from where one should admire a mountain landscape. While Fanck’s visual language is tied to a German identity that places the Alps at the centre of national healing, his iconographic sources in both his Bergfilme and Skifilme reveal the influence of British alpinism and the adventurous, sportive portrayal of mountaineers in British Alpine literature, which was well-known in the German context of Fanck’s time.

Grund für die Attraktivität und Popularität des modernen Fußb alls liegt in seiner bemerkenswerten Schlichtheit. Verfügt er doch gegenüb er vielen ande ren Sportarten üb er den wichtigen Vorteil einer ungemein einfachen Bild sprache. Dem Zuschauer sind daher nahezu alle Szenen des Fußb alls unmit telb ar im Moment der Betrachtung deutlich und verständlich. Es handelt sich ja auch nur um wenige Grundelemente, die der Beob achter zunächst nach vollziehen können muß; denn die Zahl der immer wiederkehrenden b ildlichen Grundmuster des Spiels selb st ist gering. Dazu zählen Torschuß, Eckb all, Kopfb all, Drib b ling, Zweikampf, Grätsche, Foul, Flanke, der kurze Paß. das Stellen einer Freistoßmauer und die Ab wehraktion des Torwarts. Das einzig kompliziert aufzulösende Bild 1 , das b is heute immer wieder Diskussionen auslöst, ist die Ab seitssituation. Im Grundsatz ab er sind dem heutigen Zu schauer, selb st wenn es sich nur um einen kleinen Ausschnitt auf einer Foto grafie handelt, die Bewegungsfiguren des Fußb alls äußerst klar; jede Spielsi tuation erschließt sich sofort. Sogar die nicht direkt zum Spiel gehörenden Bilder der vielen Neb enereignisse einer Fußb allveranstaltung lassen sich für die meisten Zuschauer ohne weiteres decodieren: der Gang der Spieler aufs Feld, der Wink ins Pub likum, das Hinknien fürs Mannschaftsfoto, die Prote ste der Spieler gegen Schiedsrichterentscheidungen, der Torjub el, die Reak tionen der b eteiligten Manager, Trainer und sonstigen Betreuer, schließlich das Stadion und die Zuschauer selbst. Natürlich erscheint eine Betrachtung üb er den Grad der Etab lierung der Bil der des Fußb alls heute als mehr oder weniger b anal. Doch so banal ist es nun auch wieder nicht; denn so selb stverständlich, wie wir heute diesen Bildern b egegnen, so verwundert reagierte die deutsche Öffentlichkeit noch vor etwa 80 bis 100 Jahren auf die Szenen dieses Sports. Den meisten Zuschauern, die Mit ,Bild' sei im folgenden zunächst dasjenige innere Bild gemeint, das sich der Be trachter eines Sachverhalts von diesem qua Wahrnehmung macht.

Wie bekannt, s pielte Franz Kugler für den frühen Adolph Menzel eine große Rolle. Es war nicht selbstverständlich, dass der Kunsthistoriker ihn, der zu diesem Zeitpunkt noch jung und wenig an die Öffentlichkeit getreten war, 1839 als Illustrator für seine später zu einem echten Volksbuch gewordene Geschichte Friedrichs des Großen auswählte. Dem Graphiker und Maler erschloss sich mit diesem Großunternehmen-insgesamt fertigte er über 400 Holz schnitte-ein historisches Thema, dem er sich bis in die frühen 1860er Jahre widmen sollte. P rogrammatisch führt er in einem Brief von 1839 dazu aus: "Meine Intention war, den Für sten darzustellen, den die Fürsten haßten und die Völker verehrten, dieß war das Ergebnis dessen was Er war, mit einem Wort: den alten Fritz, der im Volke lebt". 1 Menzel hat dieses Interesse im Anschluss an seine Arbeit für das Kugler-Buch in einer Reihe von umfangrei chen Illustrationszyklen etwa zur Geschichte Friedrichs des Großen und seiner Armee ent faltet, seit den späten 1840er Jahren dann auch in der berühmten Ölbilderfolge, die in der Ansprache Friedrichs des Großen vor der Schlacht bei Leuthen kulminiert und plötzlich abbricht. Bis zu seinem Tod war damit Menzels Image als "Ruhmeskünder Friedrichs des Großen" festgelegt, ein Image, das genauso scheinbar offensichtlich wie letztlich irreführend ist. Denn missachtet ist darin zweierlei: Erstens die Tatsache, dass sich die Ästhetik der Ölbilder kaum dazu eignet, die Rolle der Ruhmesverkündung zu übernehmen-darauf ist zurückzu kommen. Und zweitens, dass sich der Maler in der zweiten Hälfte seines langen Lebens eben radikal weiteren Verarbeitungen des Stoffes entzog, ja historische Stoffe insgesamt weitge hend mied. 2 Auch jenseits ihrer Zusammenarbeit am P rojekt der Geschichte Friedrichs des Großen, die sich bis 1842 hinzog, sind sich Kugler und Menzel häufig begegnet. Sie waren nach der 1848er Revolution beide Mitglieder des Tunnels über der Spree und des zugehörigen Rütli,

This article examines the role of the female film editor in the production of German silent cinema, turning to the depiction of editing in a little-known short comedy from 1926, ( , dir. O. F. Mauer), also known as ( ). This film, about a distracted editor who mixes revue film and newsreel footage to produce an avant-garde montage film, hands authority over the film to the editor while suggesting that the film she has produced is simply a mistake. Situating the film within discourse on silent-film production practices and Weimar-era montage techniques, the article uses the film as a magnifying glass through which to consider female labor and its relationship to mediation and aesthetic form. It shows how the film offers a remarkable—and relatively early—feminist theory of montage as disruption that hinges on unruly women workers.

Il taccuino esplora il concetto di semplicità come illusione: ciò che appare semplice lo è quando si palesa nella sua evidenza, sfuggendo a definizioni preconfezionate. Può risultare perspicua la sospensione temporanea de il rigore critico per proporre una nuova terminologia che superi il linguaggio convenzionale, incapace di cogliere l'essenza delle deformazioni interiori che alterano la percezione delle realtà.

Nasce così il concetto di ectopsia, una condizione psichica definita da una dislocazione percettiva, in cui l'individuo vive una realtà inevitabilmente distorta da pre-filtri invisibili. Questo stato, radicato in errori e condizionamenti sociale e genetici, rappresenta una "stortura mentale" che impedisce di vedere l'autentico.

L'ectopsia non è una patologia evidente né un errore razionale, ma un filtro subdolo che trasforma il falso in naturale. Tale condizione è contrapposta al concetto di isomalia, che descrive la deformazione collettiva e reiterata della concezione nel sociale. Entrambi i termini aprono nuove prospettive per indagare la distorsione intrinseca della psiche individuale e collettiva.

Discussion of the Munich Filmmuseum reconstruction of G.W. Pabst's THE YOYLESS STREET (1925), completed in 1998. Step-by-step analysis of the surviving prints, the editing together of a more complete version, and the addition of inter-titles, confirming to censorship records and translation of titles from diverse prints. The essay concludes that all reconstructions are subjective, but close attention to the text can produce a relatively accurate version.

Essay on the so-called "Isar Western," produced in the Munich film studios in the period just before, during, and after World War I. First given at a conference in Holland on European westerns, rewritten for proposed but unpublished volume, edited by William Uricchio.

This chapter comprises a series of investigations on how F. W. Murnau's film Nosferatu relates to an era of national cinema often identified as German Expressionist film. The first part of the chapter will provide historical context to the founding and development of Expressionism as an art movement originating in Germany, and how this identification was exploited to create product differentiation for German film companies seeking to export their films to the world market. There is a common conception that Expressionist film is based on visual elements such as lighting and set design, but a more comprehensive understanding must also include a discussion of genre, narrative, and theme. Expressionism has a close relationship with German Romanticism, and the historical and aesthetic similarities and differences between the two art movements will be explored. The second part of the chapter will discuss how the stylization of the Expressionist film, first seen overtly in The Cabinet of Dr. Caligari, evolved into a more natural setting as seen in Nosferatu. Using the reader-response theory of an audience's "horizon of expectations," Nosferatu will be examined as a cinematic adaptation and fusion of the literary genre of supernatural Gothic and the genre of hypnotic fiction. Next, the use of tropes seen in Romanticism, in particular the use of the uncanny, will be described. The ultimate success from the interweaving of these art forms in Nosferatu will then be compared to other films from this era. This comparison will provide a perspective of the rapid transition of Expressionist films from a concept of Gesamtkunstwerk (total work of art) to its more limited use in creating dramatic visual settings motivated by the psychological states of the characters and how these techniques would eventually be assimilated into the language of world cinema.

Thea von Harbou hatte Sinn für Auftritte. "Ich lege dieses Buch in Deine Hände, Fried", lautet salbungsvoll die Widmung ihres Romans "Metropolis" an den Ehemann Fritz Lang. Im Jahre 1926 war der Text bei August Scherl in Berlin erschienen, und schon ein Jahr später feierte der legendäre Film seine Uraufführung. "Metropolis" beschreibt eine zukünftige Welt, die mit den Worten Seelenlosigkeit und Kapitalismus am besten beschrieben ist.

Siegfried Kracauers wenig beachteter Roman "Georg" wird in Bezug auf den in ihm diagnostizierten Zustand der demokratischen Öffentlichkeit in der Weimarer Republik hin untersucht. Auf die dysfunktionale politische Meinungsbildung und die einhergehende Desillusionierung des aufgeklärten Räsonnements, antwortet Kracauer ironisch und satirisch. In spezifisch moderner Weise konstelliert er jedoch diese komischen mit ernsten Elementen.

Alfred Zeisler was one of the most important producers at UFA, but also a director who helped invent a new German crime drama when sound film arrived. In exile, Zeisler ended up in Hollywood, where he was able to direct several well-received crime dramas for poverty-row studios.

Since 1947 and Siegfried Kracauer’s seminal From Caligari to Hitler: A Psychological History of the German Film, Weimar Film Studies has been dominated by discussions on the representation of power, which has only recently begun to fall away. This article breaks away from this tradition and contributes to a new range of approaches to Weimar cinema, which centre upon figures belonging to a group that has largely been excluded from the existing narrative: ‘the Jew’ . Though Friedrich Wilhelm Murnau’s Nosferatu (1922) does not contain any characters explicitly identified as Jewish, I consider how the titular character is imbued with antisemitic tropes and thus steps into a similar role as enemy of mainstream German society. This article thus explores the notion of antisemitism as a socially generated projection formulated in response to the social experience of modernity, projected onto a representative of ‘Jewishness’ as the ultimate enemy of the national community.

The text focuses on the coherent subject category deconstruction procedures in the works by contemporary Croatian artist Ivan Faktor. Fritz Lang's cinematic opus exists as a permanent referent in Ivan Faktor's multimedia works produced during the last two decades. In the procedures of the works articulation based above all on the principles of editing and coincidence, Faktor appropriates certain Lang's motifs bringing them into relation with the details of his own biography. In the consequent resemantisation processes a position of the first person singular becomes the sliding territory, the interrogative mode of being that challenges the meaning of history and identity concepts, redefining the notion of media in a sense of a complex social institution.

The title of this book, The European Avant-Garde – A Hundred Years Later, implies the European avant-garde took place a century ago, that it is a thing of the past. However, it does not aim to consolidate this position, but to question it. It addresses temporality as the central dimension related to the notion of the avant-garde. The book brings forth original revisions of the theories of the avant-garde, the works of the avant-garde, the idea of the avant-garde as being the vanguard, the leading force of change. At the same time, during the long twentieth century, avant-garde came back again and again and is perhaps with us again today.

A partir do vínculo entre autobiografia e animalidade, a narrativa Um relatório para uma Academia, de Franz Kafka, será analisada com objetivo de pensar as reverberações entre a experiência animal e as espoliações coloniais, além de atentar aos diversos efeitos subjetivos que resultam no silenciamento e nos constrangimentos gerados a reboque desse processo. Assim, a partir dos abalos criados por Kafka ao dar voz a um macaco em seu empenho ficcional, observa-se como a subjetividade colonial se expressa, especulando ainda as possíveis fissuras ensaiadas no gesto de descentramento da fala antropocêntrica.