Finance and the World Economy in Weimar Cinema /

Between the World Wars, the contours of what would come to be understood as the world economy began to appear on in the cinemas of the Weimar Republic. To a non-specialist audience, it remained an invisible and barely understood effect on everyday life. Finance and the World Economy in Weimar Cinema...

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書目詳細資料
主要作者:	Lyons, Owen (Author)
格式:	Licensed eBooks
語言:	英语
出版:	Amsterdam : Amsterdam University Press, [2023]
叢編:	Film culture in transition.
在線閱讀:	https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=3675897

書本目錄:

Cover
Table of Contents
Acknowledgements
Introduction
1. The Stock Exchange as a Space of Modernity and Labour of Representation
The Stock Exchange as a Space of Modernity
Introduction
The Official Spaces of Finance
Where the Exchange Meets the City
The Stock Exchange as a Labour of Representation
The Image of the World Market
'Productive' vs. 'Non-Productive' Capital
Gambling and the Financial Imaginary in Germany
Price Production as Worldview
2. Dr. Mabuse and His Doubles
Dr. Mabuse the Speculator
Introduction
The Figure of the Raffke and Schieber
The Little Bank Tellers Go to the Movies
Dr. Mabuse: Gambler or Speculator?
Dr. Mabuse: Tyrant, Anti-Semitic Stereotype, or Weimar Anti-Hero?
Dr. Mabuse and the Weimar Financial Imaginary
'Money was the Key to Every Lock'
Spectres of the Past: Gambling, Colonies, and National Boundaries
Under the Sign of Mabuse: Speculation, Numerology, and the Financial World Picture
State Power and the Defeat of Dr. Mabuse
3. Women and Finance Capital in Weimar Cinema
The New Woman as Speculator
Introduction
Finance and Women's Emancipation in Die Börsenkönigin
Class and Gender in Die Börsenkönigin
The Gendering of the Market in Financial Discourse
Women as a Medium of Exchange
Financial Agency in Die Austernprinzessin and Fräulein Raffke
The Role of Finance and Speculation in Die freudlose Gasse
Property and Prostitution in Die freudlose Gasse
The Allegory of Economy in Die freudlose Gasse
4. Finance, Liquidity, and the Crisis of Masculinity in Weimar Cinema
The Threat of Dissolution
Introduction
Mercurial Modernity: Women and Water in Berlin: Die Sinfonie der Großstadt
Destabilizing Flows and Male Identity
Capitalism and Der letzte Mann
Power, Vision, and Liquid Masculinity in L'Argent.
Reactionary Modernism and Finance Capital
The Image of Northern German Industry in Hanseaten
Hanseaten in the Context of Die Verrufenen
Going Public vs. Private Capital
5. The Aggregate Image and the World Economy
Macroeconomic Visions
Introduction
Representations of the Economy and the Critique of Capitalism: Soviet Montage
Fictitious Capital and Brecht's Fictions of Finance
The Cross-Sectional Aesthetic
Corporate Visions of the World in Melodie der Welt
Epilogue
Fungibility and Authenticity
Appendix
Bibliography
List of Films
Index
List of Illustrations
Figure 1. Eric Schilling, 'Der Welthandel' (World Trade), Simplicissimus, April 20, 1921. Caption: 'Warum kann der Kerl nicht mehr laufen? Wir haben ihm doch nur das deutsche Bein amputiert.' ('Why can't this guy walk anymore? We've only amputated the Ger
Figure 2. Norbert Jacques and his wife (Margerite Samuely) on a boat during a journey from Australia to Peru. Berliner Illustrierte Zeitung, Ullstein Verlag, no. 39, September 25, 1921. Photographer unknown. Ullstein Bild.
Figure 3. The Schramm 'mini-film' in Dr. Mabuse der Spieler (Fritz Lang, 1922). Photo: Friedrich-Wilhelm Murnau Stiftung.
Figure 4. Top: Arthur Johnson, Kladderadatsch, September 25, 1922. Caption: 'Das Rätsel des Wiederaufbaues. Die Sphinx: "Wer löst das Rätsel dunklen Sinnes? Ist's Odipus? Nein! Es ist Stinnes!"'
Translation: 'Who will solve the riddle of the crisis? Is
Figure 5. The stock exchange scene in Dr. Mabuse der Spieler (Fritz Lang, 1922). Photo: Friedrich-Wilhelm Murnau Stiftung.
Figure 6. Stills from Dr. Mabuse der Spieler (Fritz Lang, 1922) that show the closely related sets of numbers that run through the film. Photo: Friedrich-Wilhelm Murnau Stiftung.
Figure 7. Raoul Hausmann and Johannes Baader, "Dadadegie," in Der Dada, issue 1, June 1919. DADA III:18:1. Kunsthaus Zürich Library.
Figure 8. Helene (Asta Nielsen) standing in the wings overlooking the exchange floor in Die Börsenkönigin (Edmund Edel, 1916). Edition Filmmuseum press photo.
Figure 9. A spectral figure encroaches on the domestic space in Die freudlose Gasse (G. W. Pabst, 1925). Copyright: Filmmuseum München.
Figure 10. Kladderadatsch, September 1923. Caption: 'Die Valuta-Rire: Halb zog sie ihn, halb sank er hin' - Translation: 'The Valuta-Laugh: he was partly pulled and partly sank in.'
Figure 11. Merkur, as depicted in: Adolf Hirémy Hirschl, Souls on the Banks of the Acheron, 1898. Oil on canvas. From the collection of the Österreichische Galerie Belvedere.
Figure 12. The porter's dream - a liquid moment from Der letzte Mann (1924). Photo: Friedrich-Wilhelm Murnau Stiftung.
Figure 13. The representation of flows of capital in Gundermann's antechamber in L'Argent (Marcel L'Herbier, 1929). Photo: Flicker Alley.
Figure 14. Top: Hamelin loses his ability to focus his sight. Bottom: a point-of-view shot of his hand, which appears to dissolve with the breakdown of optical focus. L'Argent (Marcel L'Herbier, 1929). Photo: Flicker Alley.
Figure 15. The stern Karl Twersten (left) and Theodor Bramberg, his Raffke-like rival (right) in Hanseaten (Gerhard Lamprecht, 1925). Photo: Deutsche Kinemathek.
Figure 16. The Hamburg harbour and the launching of the Jngeborg in Hanseaten (Gerhard Lamprecht, 1925). Photo: Deutsche Kinemathek.
Figure 17. Dissolves and liquefaction join these two images in Polizeibericht Überfall (Ernö Metzner, 1928).
Figure 18. For example, this composition from the final issue of Der Querschnitt magazine. Clockwise from the top left, the captions translate as: 'The spire of the London stock exchange'
'The stone on the Thames at Putney, where the yearly rowing race b
Figure 19. Stills from K 13 513: Die Abenteuer eines Zehnmarkscheins, (fragment, Berthold Viertel, 1926). Photo: Filmarchiv Austria.
Figure 20. The 'Beggar's Exchange' in M (Fritz Lang, 1931). Photo: Praesens-Film.

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