Patrice Petro challenges the conventional assessment of German
film history, which sees classical films as responding solely to
male anxieties and fears. Exploring the address made to women in
melodramatic films and in popular illustrated magazines, she shows
how Weimar Germany had a commercially viable female audience,
fascinated with looking at images that called traditional
representations of gender into question.
Interdisciplinary in her approach, Petro interweaves archival
research with recent theoretical debates to offer not merely
another view of the Weimar cinema but also another way of looking
at Weimar film culture. Women's modernity, she suggests, was not
the same as men's modernism, and the image of the city street in
film and photojournalism reveals how women responded differently
from men to the political, economic, and psychic upheaval of their
times.
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