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From Caligari to Hitler: A Psychological History of the German Film Rev and Expanded ed. Edition

4.5 out of 5 stars 14 customer reviews
ISBN-13: 978-0691115191
ISBN-10: 0691115192
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Editorial Reviews

Review

"The thesis of this unusually interesting book is that the German films of the twenties were filled with premonitions of the German totalitarianism of the thirties."--Nation

"One of the great works of film history, this look at early German cinema, first published in 1947, is still a must-have for cineastes and scholars alike."--H.J. Kirchhoff, Toronto Globe and Mail

"The book is an invaluable guide to a golden period of cinema."--Christopher Wood, The Times

From the Back Cover

"An undisputed classic of modern film historiography, Kracauer's From Caligari to Hitler had a major impact on the way we relate movies to history and society. Although Kracauer is not afraid of using such contested concepts as collective psychology and German 'soul,' his productive readings of Weimar films as harbingers of emerging fascism still resonate today. Leonardo Quaresima's engaging and erudite introduction is critical in situating Kracauer's project both in its historical moment and in our time."--Anton Kaes, University of California, Berkeley

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Product Details

  • Paperback: 432 pages
  • Publisher: Princeton University Press; Rev and Expanded ed. edition (April 11, 2004)
  • Language: English
  • ISBN-10: 0691115192
  • ISBN-13: 978-0691115191
  • Product Dimensions: 6.2 x 1 x 9.2 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #295,674 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

Format: Paperback Verified Purchase
I can't speak to how this book must have read upon publication, but, at this great remove, it's conclusions (and comments on the German character) strike me as facile and wide of the mark. I thought the book did a good job when it focused on the workmanlike task of just cataloging films from the silent era when Weimar was a cinema powerhouse equal to Hollywood today, and of course I have no complaints about the photographs. But the author's remote pedantic tone and dry rendering of this material left me underwhelmed. And no, scholarly writing doesn't have to have the hermeunetic,arid quality of this work, so that apologia won't wash, either.

Not recommended.
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Format: Paperback Verified Purchase
Having owned the previous edition of this flawed classic, written by Siegfried Kracauer, the brilliant Weimar era critic, during his American exile in World War II, I hesitated to buy this new edition. Now I am glad I did. The Italian film scholar Leonardo Quaresima is one of the major authorities on Weimar era cinema, but unfortunately little of his work has been translated into English. His "Introduction to the 2004 edition" is more than that--it is a major essay on Kracauer as a film critic, indispensable for anyone with more than a casual interest in the period. Abundantly footnoted, it offers a sober critical assessment of CALIGARI TO HITLER, discussing its gestation, its sources, its relationship to Kracauer's earlier film criticism, and its methodological premises, indebted to fellow German Jewish exile Erwin Panofsky's iconology.
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Format: Hardcover
This book shows how the cinema paralleled and sometimes helped form the German psyche. Yet it is more than just a documentary. This brings you from the beginning of the industry to show what Hitler inherited. However the information caries far beyond the political dimension.

I use it more for information on the film industry as a whole for that time and the basis of what we inherited today. It is interesting that from the beginning people complained that the film was to long and inclusive or too short and excluded characters form history or books.

Two good parallel and overlapping timeline books for the era are "Cagliari's Children: The Film As Tale of Terror" which is a different view on the same subject and "The UFA Story: A History of Germany's Greatest Film Company, 1918-1945 (Weimar and Now: German Cultural Criticism, 23)"

They tried to capture the feel of the time and of the German actors' attitude toward film, in the movie "Shadow of the Vampire" (2001)

The Ufa Story: A History of Germany's Greatest Film Company, 1918-1945 (Weimar and Now: German Cultural Criticism, 23)

Caligari's Children: The Film As Tale Of Terror (Da Capo Paperback)
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Format: Paperback
This book shows how the cinema paralleled and sometimes helped form the German psyche. Yet it is more than just a documentary. This brings you from the beginning of the industry to show what Hitler inherited. However the information caries far beyond the political dimension.

I use it more for information on the film industry as a whole for that time and the basis of what we inherited today. It is interesting that from the beginning people complained that the film was to long and inclusive or too short and excluded characters form history or books.

Two good parallel and overlapping timeline books for the era are "Cagliari's Children: The Film As Tale of Terror" ISBN: 030680347X which is a different view on the same subject and "The UFA Story: A History of Germany's Greatest Film Company, 1918-1945 (Weimar and Now: German Cultural Criticism, 23)"

They tried to capture the feel of the time and of the German actors' attitude toward film, in the movie "Shadow of the Vampire" (2001)

The Ufa Story: A History of Germany's Greatest Film Company, 1918-1945 (Weimar and Now: German Cultural Criticism, 23)
Comment Was this review helpful to you? Yes No Sending feedback...
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Format: Paperback
This book shows how the cinema paralleled and sometimes helped form the German psyche. Yet it is more than just a documentary. This brings you from the beginning of the industry to show what Hitler inherited. However the information caries far beyond the political dimension.

I use it more for information on the film industry as a whole for that time and the basis of what we inherited today. It is interesting that from the beginning people complained that the film was to long and inclusive or too short and excluded characters form history or books.

Two good parallel and overlapping timeline books for the era are "Cagliari's Children: The Film As Tale of Terror" ISBN: 030680347X which is a different view on the same subject and "The UFA Story: A History of Germany's Greatest Film Company, 1918-1945 (Weimar and Now: German Cultural Criticism, 23)"

They tried to capture the feel of the time and of the German actors' attitude toward film, in the movie "Shadow of the Vampire" (2001)

The Ufa Story: A History of Germany's Greatest Film Company, 1918-1945 (Weimar and Now: German Cultural Criticism, 23)
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Format: Paperback
This book has a tremendous reputation and is widely regarded as a classic, but it is a flawed classic. Siegfried Kracauer claims that we can see the political and mass-psychological development of Weimar Germany in its films. It is an interesting thesis. So, what's the problem?

Kracauer's political viewpoint heavily informs his analysis of German cinema during the Weimar Republic. He was a out-and-out Marxist and a Jewish exile from Nazi Germany. Needless to say, he was extremely bitter about the development of German history when he wrote this book in 1946/47 -- and with good reason. But his analysis is very politicized and snidely anti-German. Kracauer decries the lack of engagement with the social question, particularly along "Marxist" lines.* Throughout the book, Kracauer repeats quotes from and cites the opinions of the far-left-wing (quasi-communist?) film critic Harry Potamkin.

Moreover, much of the book is an indictment of the German people -- not for overtly supporting Hitler, but for their passivity. He consistently depicts Germans as obedient slaves to authoritarianism. As such, they were incapable of producing any truly great films (until 1930) and were even unable to produce good detective movies, he writes. In writing about Germany during the mid-1920s, when democracy was stable and the economy flourished, he writes that the German public was actually in a psychological "state of paralysis. Cynicism, resignation, disillusionment." Apparently, at the time, Germans should have been creating a new, anti-authoritarian, left-wing society. They should not have been making technically innovative, popularly entertaining films.
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