Weimar Cinema, 1919-1933: Daydreams and Nightmares

Organized in association with the Friedrich Wilhelm Murnau Foundation in Wiesbaden and in cooperation with the Deutsche Kinemathek in Berlin, this exhibition—the most extensive ever mounted in the United States of German films made between the world wars—includes seventy-five feature-length films and six shorts, along with a gallery exhibition of Weimar-era film posters and stills.

Art Exhibition previously on at The Museum of Modern Art - MoMA in New York, United States.
From Wednesday 17 November 2010 to Monday 07 March 2011

Cover of the publication Weimar Cinema, 1919–1933 image Poster for Berlin, Die Sinfonie der Grosstadt. 1927 image Poster for Faust. 1926. image Poster for Metropolis. c. 1926. image Poster for Hamlet. 1920 image Poster for The Golem: As He Came Into the World. 1920. image Die wunderbare Lüge der Nina Petrowna (The Wonderful Lies of Nina Petrovna). 1929. Germany. image Viktor und Viktoria. 1933. Germany. image Die Frau, nach der man sich sehnt (Three Loves). image The Love Parade. image Das Lied vom Leben (The Song of Life). 1931. image Der Fürst von Pappenheim (The Masked Mannequin). 1927. Germany. image Jenseits der Strasse. (Harbor Drift). 1929. Germany. image Die Frau nach Der Man sich sehnt. image Die Büchse der Pandora. image Morgenrot (Dawn). 1933. Germany. image Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari). 1920. Germany. image Ein toller Einfall (A Crazy Idea). 1932. image

Published by MOMA on Wednesday 24 November 2010.
Contact the publisher.

The exhibition continues the tradition of Iris Barry, the world’s first curator of film and founding curator of MoMA’s Department of Film, who began adding German films to the collection in the mid-1930s and exhibited a deep commitment to this rich period of film culture throughout her career. Daydreams and Nightmares also builds upon the scholarly legacy of Siegfried Kracauer’s seminal 1947 book From Caligari to Hitler: A Psychological History of the German Film, which the émigré film and social critic wrote (at Barry’s invitation) at The Museum of Modern Art.

In addition to classic films by Fritz Lang, F. W. Murnau, and G. W. Pabst, among others, the exhibition includes many films, unseen for decades, that were restored after German reunification. The extensive program reaches beyond the standard view of Weimar cinema—which sees its tropes of madmen, evil geniuses, pagan forces, and schizophrenic behavior as dark harbingers of Hitler—by adding another perspective: that of the popular German cinema of the period. The development of Weimar cinema coincides with the coming of sound, and German filmmakers also excelled in the making of popular musicals, cabaret-type comedies, and dramas, shot outside the studio, that tackled social issues.