Abstract
AbstractThis article uses reconstructions of the 1919 German LGBTQ+ rights film Anders als die Andern (Different from the Others) to consider the meaning of the Weimar Republic. It surveys Weimar's historiography, memorialization efforts, public commemorations, museums, and film reconstruction, drawing connections between these fields. The film as an incomplete document becomes a metaphor for incomplete histories. As such, it offers suggestions for engaging with fragmentary pasts.
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