Traditionally, Weimar cinema has been equated with the work of a
handful of auteurist filmmakers and a limited number of canonical
films. Often a single, limited phenomenon, "expressionist film,"
has been taken as synonymous with the cinema of the entire period.
But in recent decades, such reductive assessments have been
challenged by developments in film theory and archival research
that highlight the tremendous richness and diversity of Weimar
cinema. This widening of focus has brought attention to issues such
as film as commodity; questions of technology and genre;
transnational collaborations and national identity; effects of
changes in socioeconomics and gender roles on film spectatorship;
and connections between film and other arts and media. Such shifts
have been accompanied by archival research that has made a
cornucopia of new information available, now augmented by the
increased availability of films from the period on DVD. This wealth
of new source material calls for a re-evaluation of Weimar cinema
that considers the legacies of lesser-known directors and
producers, popular genres, experiments of the artistic avant-garde,
and nonfiction films, all of which are aspects attended to by the
essays in this volume. Contributors: 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 Walk, Valerie Weinstein, Joel
Westerdale. Christian Rogowski is Professor of German at Amherst
College.
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