Weimar Cinema and After

Thomas Elsaesser, Weimar Cinema and After (London: Routledge, 2000) 472 pp.

book coverGerman cinema of the 1920s is still regarded as one of the "golden ages" of world cinema. Films such as The Cabinet of Dr. Caligari, Nosferatu and The Blue Angel are among the key films defining an age of Germany as a nation uneasy with itself. Directors such as Fritz Lang, F.W. Murnau and G.W. Pabst, having apparently announced the horrors of fascism while testifying to the traumas of a defeated nation, cast long shadows over German cinema to this day.

Weimar Cinema and After offers a fresh perspective on the arguments that view genres and movements such as "films of the fantastic," "Nazi Cinema," "film noir" and "New German Cinema" as typically German contributions to twentieth century visual culture. Elsaesser questions conventional readings which link these genres to romanticism and expressionism and offers new approaches to analyzing national cinema. Elsaesser argues that German cinema's significance lies more in its contribution to a creation of a community sharing a 'historical imaginary' rather than a 'national identity.' In this respect, German cinema anticipated some of the problems facing contemporary nations in reconstituting their identities by means of media images, memory, and invented traditions.

Sample Chapters

Introduction: Weimar Cinema's Impersonations

With Kracauer and Eisner (Once More) At the Movies


Film-Philosophy, vol 5 no 43, Dec 2001 (Geoffrey Nowell-Smith)

Modernism/Modernity vol 9 no 1, 2002 (Noah Isenberg - also available here)

"The book is a fantastic starting place for understanding a period of German cinema as well as our own assumption-making processes and the forces that shape them."
– Film Freak Central Book Review (Travis Hoover)

An excellent essay in Screening the Past develops the notion of German cinema's "historical imaginary" in order to examine Werner Herzog's complex appropriation of Lotte Eisner and Weimar cinema as 'legitimate culture'.

For an essay on Weimar cinema that has had a good look at my book, see GreenCine's German Expressionism Primer (David Hudson)

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