"Been in the cinema. Cried. "With this diary entry, Franz Kafka laconically describes the yearning, everyday escape and emotionality with which the filmmakers of the Weimar Republic lured viewers to the cinema. The tempo is the basic motive, the metropolis Berlin with its four million inhabitants the scene and the urban life the story line in an epoch, which reached for the stars and shattered in the fan of the destruction. The direct modernity of this time, many directors put a cinematic monument, as Joe May in "Asphalt" of 1928. The neon signs brighten the night. People stream into the amusement palaces. Mays movie focuses on nightlife and crime on the streets of Berlin, two years after Walther Ruttmann managed to capture a day in the city's life in "Berlin – The Symphony of the Big City" and one before Robert Siodmak in "Menschen am Sonntag" from 1929 staged the excursion pleasure of the salaried employees.
In the Weimar Republic, the medium of film developed into a kaleidoscope of an order in progress, which is particularly due to its commercial success. The number of cinemas increased from 1918 to 1933 to five thousand, because the walk to the cinema became the most important leisure pleasure of the middle class. In no other time has the German film industry been more influential and innovative. For this reason, the Deutsche Kinemathek in Berlin is dedicated to the film of the "Golden Twenties" until October 13th.
Under the title "Cinema of the Modern Age", the museum has developed a show together with the Bundeskunsthalle Bonn on the occasion of the centenary of the Weimar Republic in which the span of the film from 1918 to 1933 is retold. The museum has gathered over three hundred and fifty exhibits, including its own deposits as well as loans from home and abroad. To what extent cinema and social reality have influenced young democracy and how cinema has become a mass medium, the exhibition answers in a twenty-five chapter long autopsy of the Weimar film.
The question of gender identity
The topic splinters range from fashion to sport, from exoticism to mobility. Already in the entrance, the curators try to depict the social diversity of the then German Reich on the basis of portrait photographs by August Sander, historical photographs from photo booths and actor portraits. The anonymous chauffeur next to Asta Nielsen. Marlene Dietrich next to a chambermaid. Weimar as a mass society. The cinema of that time set aesthetic trends that still characterize contemporary cinema: that is the narrative of the exhibition. And until today, according to the curators, the "Weimar Touch" reference for the German film, what the series "Babylon Berlin" prove.
The show brings together a variety of unique photographs and film drawings, such as the scene sketches by Erich Kettelhut or photographs, the Fritz Lang made in 1928 during his New York trip and have served him as a template for the big city scenes in "Metropolis". The section "Science" in film also compares exhibits in an interesting way and shows how Weimar inspired science fiction. For example, Rudolf Belling's brass sculpture "M23", whose minimalist design resembles a robot head, contrasts with the film sequences about Metropolis's machine-people.
(DateToTranslate) Walther Ruttmann (t) Franz Kafka (t) Joe May (t) Robert Siodmak (t) Siegfried Kracauer (t) German Cinematheque (t) Bundeskunsthalle