By Bernadette Kester
Read or Download Filmfront Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) (Amsterdam University Press - Film Culture in Transition) PDF
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Extra resources for Filmfront Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) (Amsterdam University Press - Film Culture in Transition)
It was followed by Feldgrau, Das Deutsche Mutterherz, Brandstifter Europas, Ich hatt’einen Kameraden and Die versunkene Flotte. Nevertheless, these individual films initially did not cause much of a stir; this did not happen until after the screening of Unsere Emden, towards the end of 1926. Initially, the press focused on the phenomenon in its entirety, the phenomenon of the ‘Militärfilme’. The 1925-1926 period saw a boom of military films. Films about the First World War were only a fraction of the total number.
88 The co-existence of modernist and conventional artistic expressions and culture practices can be observed in different periods, but it was especially poignant in the Weimar period. Co-existence did not mean that they were separated, however. One may suppose that there was a certain intertextual connection between both practices. Artistically interesting films, even if they were attended by relatively small audiences, were probably partly responsible for raising the status of film in general.
Germany was now called upon to solve the problem of visual news gathering itself. The Messter company alone was unable to fulfil this task. In addition, the army leadership initially resisted the idea of having film cameras at the front. Fortunately, there were enough creative minds to come up with other solutions. On 12 August 1914, Kinematograph ran an article whose author gave a number of useful tips on how to meet demand without actually using up-to-date images. In a somewhat irritated tone, he wondered why people in the film industry were not as smart as those who provided the illustrated magazines with pictures.