By Christian Rogowski
Often, Weimar cinema has been equated with the paintings of a handful of auteurist filmmakers and a constrained variety of canonical motion pictures. usually a unmarried, restricted phenomenon, "expressionist film," has been taken as synonymous with the cinema of the full interval. yet in contemporary many years, such reductive checks were challenged by means of advancements in movie concept and archival examine that spotlight the large richness and variety of Weimar cinema. This widening of concentration has introduced realization to matters comparable to movie as commodity; questions of expertise and style; transnational collaborations and nationwide identification; results of adjustments in socioeconomi and gender roles on movie spectatorship; and connections among movie and different arts and media. Such shifts were accompaniedby archival examine that has made a cornucopia of recent details on hand, now augmented by way of the elevated availability of movies from the interval on DVD. This wealth of recent resource fabric calls fora re-examination of Weimar cinema that considers the legacies of lesser-known administrators and manufacturers, renowned genres, experiments of the inventive avant-garde, and nonfiction movies, all of that are points attended to by means of the essays during this quantity. members: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P.Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia stroll, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor of German at Amherst collage.