Cinematography in the Weimar Republic

Cinematography in the Weimar Republic argues that the new medium of film was preeminent among the avant-garde art forms that distinguished the cultural renaissance of the Weimar Republic and that within this progressive medium cinematographers were the leading purveyors of the new kinetic visual imaginary.

Paul Matthew St. Pierre is a retired professor from the Department of English at Simon Fraser University.

List of Illustrations Acknowledgments 1The Weimar Revolution and German Collaborative Filmmaking 2The Optical Convergence of Theodor Sparkuhl and Ernst Lubitsch 3Karl Freund's Signature Visual Designs in Manifold Collaborations 4Carl Hoffmann and the New Visual Discourse of German Silent Film 5Fritz Arno Wagner, with F. W. Murnau, Fritz Lang, and Arthur Robison 6Fritz Arno Wagner, G. W. Pabst, and the Weimar Zeitgeist 7Günther Rittau, Günther Krampf, Optical Language, and Autonomous Collaborative Agency 8Guido Seeber's Promotion from Special Effects Technician to Cinematographic Artist 9Rudolph Maté, Carl Theodor Dreyer, and the Framing Principle of Cinematography 10Cinematographers as Directors as Cinematographers and the Rebirth of Civilization Filmography Works Cited Index About the Author