Berlin Symphonies and the Myth of the Weltstadt
This chapter examines Walter Ruttmann’s Berlin. Die Sinfonie der Großstadt (1927) as the foundational cinematic origin for the city’s interwar and postwar image and explores its relation to Thomas Schadt’s 2002 remake, Berlin: Sinfonie einer Großstadt, conspicuously timed to coincide with the early years of the New Berlin. One of the pillars of the film’s medium specific argumentation, the chapter also considers what it means to have moving images stand in for a lost place and how the photochemical origins (cinematographic indexicality) of the images come to elicit longing.
Minnesota Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.