HI136 The History of Germany Lecture 8. Weimar Society and Culture. The Upper Classes. No fundamental change to the social & economic structure after 1918 – no redistribution of wealth, no nationalization of industry. But some social change:
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Family of the Lawyer Dr Fritz vonGlaser
(1920) by Otto Dix.
Josephine Baker (right),
and Louise Brooks
The Potsdammerplatz by night.
Patrons of the Eldorado, Berlin’s notorious transvestite bar.
Marlene Dietrich as the cabaret singer Lola Lola
1939), head of the
Homicide division of the
(1925-39) and originator
Of the term ‘serial killer’
Above: Peter Lorre as the child murder in
Fritz Lang’s M (1931)
Left: Peter Kürten (1883-1931), ‘the
Vampire of Düsseldorf’.
F. W. Murnau
G. W. Pabst
Josef von Sternbeg
Leni ReifenstahlNotable Directors and Actors
Expressionism is the tendency of an artist to distort reality for an emotional effect; it is a subjective art form.
Art movement very influential in Germany since the turn of the century (Die Brücke, der Blaue Reiter).
Wassily Kandinsky, Der blaue Reiter (1903)
The Chilehaus in Hamburg (1922-24),
designed by Fritz Höger
The Einstein Tower in Potsdam (1919-20),
designed by Erich Mendelsohn
Scenes from Das Cabinet des Dr Caligari (1920)
Still from Nosferatu (1922), directed by F. W. Murnau
The ‘Tower of Babel’ from Fritz Lang’s Metropolis (1927)
The director and impressario Max Reinhardt
(1873-1943) did much to popularize an Expressionist
aesthetic in the theatre of the Weimar Republic
Germany: A Winter’s Tale (1917-19)
by George Grosz
Großstadt (Metropolis) Triptych (1927-28) by Otto Dix
Three Whores (1926) by Otto Dix
The Pillars of the Establishment (1926)
by George Grosz
Industriebauen (1920) by Georg Scholz and Deutsche Familie (1932) by Adolf Uzarski
Posters for Berlin: Die Sinfonie der Grosstadt (1927) and Der Letze Mann (1924)
Cantilever “Cesca” Chair by Marcel Breuer.
The Bauhuas building in Dessau (1925-26)