Germany’s Weimar Republic: A narrative of ambiguity
Modernisation appeared to spell economic deprivation for large segments of the Weimar Republic’s society. They felt threatened by uncertainties; in fact, hopes and expectations about the future were disrupted. Aggression turned against democratic institutions and minorities depicted as scapegoats.
On October 15th 1929, the Fritz Lang film Woman in the Moon premiered at the Ufa-Palast am Zoo in Berlin. The cinema’s façade had been redesigned for the event. Launched from a skyscraper silhouette, a spaceship replica shuttled back and forth to the moon against the backdrop of a starry sky simulated by hundreds of light bulbs. Offering tantalising visions of future technology – not quite unlike Bauhaus architecture with its twin promise of functionalist building and re-styled urban life, it conveyed the impression of epitomising a cosmopolitan republic that eagerly embraced modernity.
On October 15th 1929, the Fritz Lang film Woman in the Moon premiered at the Ufa-Palast am Zoo in Berlin. The cinema’s façade had been redesigned for the event. Launched from a skyscraper silhouette, a spaceship replica shuttled back and forth to the moon against the backdrop of a starry sky simulated by hundreds of light bulbs. Offering tantalising visions of future technology – not quite unlike Bauhaus architecture with its twin promise of functionalist building and re-styled urban life, it conveyed the impression of epitomising a cosmopolitan republic that eagerly embraced modernity.
November 12, 2019 -
Rainer Eisfeld
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History and MemoryIssue 6 2019Magazine
Gustav Stresemann in his speech before the General Assembly of the League of Nations in Geneva (CC) commons.wikimedia.org
