About the Author
Noah Isenberg is a professor of culture and media at the New School’s Eugene Lang College of Liberal Arts. He is the author of We’ll Always Have ‘Casablanca’: The Life, Legend, and Afterlife of Hollywood’s Most Beloved Movie (W.W. Norton, 2017), Edgar G. Ulmer: A Filmmaker at the Margins (University of California Press, 2014), Detour (British Film Institute, 2008), and Weimar Cinema: An Essential Guide to Classic Films of the Era (Columbia University Press, 2009).
Table of Contents
1. Suggestion, Hypnosis, and Crime: Robert Wiene's The Cabinet of Dr. Caligari (1920), by Stefan Andriopoulos
2. Of Monsters and Magicians: Paul Wegener's The Golem: How He Came into the World (1920), by Noah Isenberg
3. Movies, Money, and Mystique, by Christian Rogowski
4. No End to Nosferatu (1922), by Thomas Elsaesser
5. Fritz Lang's Dr. Mabuse, the Gambler (1922): Grand Enunciator of the Weimar Era, by Tom Gunning
6. Who Gets the Last Laugh? Old Age and Generational Change in F. W. Murnau's The Last Laugh (1924), by Sabine Hake
7. Inflation and Devaluation: Gender, Space, and Economics in G. W. Pabst's The Joyless Street (1925), by Sara F. Hall
8. Tradition as Intellectual Montage: F. W. Murnau's Faust (1926), by Matt Erlin
9. Metropolis (1927): City, Cinema, Modernity, by Anton Kaes
10. Berlin, Symphony of a Great City (1927): City, Image, Sound, by Nora M. Alter
11. Surface Sheen and Charged Bodies: Louise Brooks as Lulu in Pandora's Box (1929), by Margaret McCarthy
12. The Bearable Lightness of Being: People on Sunday (1930), by Lutz Koepnick
13. National Cinemas / International Film Culture: The Blue Angel (1930) in Multiple Language Versions, by Patrice Petro
14. Coming Out of the Uniform: Political and Sexual Emancipation in Leontine Sagan's Mädchen in Uniform (1931), by Richard W. McCormick
15. Fritz Lang's M (1931): An Open Case, by Todd Herzog
16. Whose Revolution? The Subject of Kuhle Wampe (1932), by Marc Silberman
What People are Saying About This
A substantial collective accomplishment, a real contribution to the fields of German studies and film studies, as well as for a general public interested in film and film history.
This anthology fills a distinct need: it brings together pertinent work previously published on Weimar cinema with new work in the field to provide a collection of essays that will be extremely useful for teaching.
Noah Isenberg has brought together a superb collection of essays on Weimar cinema. Raucous, scary, and erotic, the pioneering films of Weimar Germany still generate surprise and pleasure and are critical to our understanding of the modern condition. Each of these authors is an expert in the field and provides a fresh and insightful reading of some of the era's greatest films, from the renowned Cabinet of Caligari and The Blue Angel to the superb, though less famous, People on Sunday. Weimar Cinema is a must read for film lovers and anyone interested in that turbulent, exciting period of German history.