Abstract
Scholars traditionally read Weimar film as a symptomatic manifestation of national traditions, longings, and fears. Siegfried Kracauer’s seminal work of 1947, From Caligari to Hitler, identified postwar German film with the three major paradigms customarily associated with Weimar culture as a whole: ominous anticipation of the rise of Nazism, inability to come to terms with the traumatic experiences of World War I, and dispassionate escapism in the face of contemporary crises.1 While present-day scholars reject Kracauer’s focus on the “German soul” and its psychotic pathology, they often share his perception of the essential role of films in the formation of postwar German nationalism.2
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