Monday, August 15, 2011

Eat.2 Lunch & Dinner

Lunch at Culinary Institute
In Turkey we had a lunch at the Culinary Institute. That's a awesome experience. There are five dishes for the whole lunch:
 First dish--Yogurt soup. It seems that Turkish people love yogurt soup and yogurt souce very much. They serve it at almost every restaurants I went to. Yogurt soup is sour, but the taste is different from the yogurt.
 Second dish--mashed potatoes with some vegetables.
 Third dish--nang with meat balls and yogurt sauce. Nang is a special food in Turkey.
 Forth dish--dessert. The dessert is made of rice.
Fifth--Turkish tea. Turkish tea is bitter, so I have to add much sugars to make the taste better.

Lunch at University
This is a lunch at a Turkish university. It cost about 5 liras, served with rice, meat and potatoes, salad, and apricots. Having lunch at Humboldt University, Berlin with student card is also very cheap. Each meal costs about 2-3 euros.

Dinner at Fish Market
Near the Bosporus there is a fish market. They sell fresh fish and other sea food. We have a dinner in the fish market.

Dinner in Berlin
 I found a KFC and a Chinese restaurant never the Berlin Zoo. I think KFC is an american restaurant, but I never seen it before in US. On the contrast, there are many KFCs in China, and now I found one in Berlin.
This pizza is my last dinner in Berlin with my group.

I enjoyed all these food in Istanbul and Berlin. And I always feel food can also show a country's identity. Cooking, eating and serving are all showing the features of a city. Chinese love abundance and diversity, so we love to have many dishes in one meal together with family members or friends. And we take having dinner as a good way to deepen friendship , so the noisy of eating, drinking and chatting is already been a characteristic. European people are more elegant in eating. They prefer to have dishes one by one instead of having many dishes together. And most time one dish only belongs to one person, but not eat together. I never been to Latin America, but I try mexican food in US before. I my mind, Latin Americans like to put food together and sometimes eat with hand. And they have many yummy fruit juice. Like the multi-culture in US, they also have multi-food in US. I can try food from any different country all over the world in US. But the flavors are already changed. Even though I my mind hamburger is the symbol of American food, but I have to mention that they have very good beef steak.


It's an interesting experience to try food in different countries. Although my favorite food is Chinese food, some Turkish and German special delicious food are also leave me very deep impression.

Turkey has lots of delicious and fresh fruits. The above picture shows a kind of pear which I never seen before in other countries. There are many fruits shops along the streets at Galata, they sell fresh food and fruit juice. On the below picture it's apple juice. Fruit juice is cheap and soooo tasty.

The above picture shows the mango I bought in Germany. In Berlin, you can also find cheap and great fruits in Turkish market. Turkish market is only open on Tuesday and Friday. In the market Turkish people sell many cheap things, especially lots of cheap fruits, such as cherry, mango, peach, melon, grape and so on.


 They are sooo sweet that I have to drink lots of water after eating it. But I begin to miss them now...
They are made of honeys instead of sugar.
The sugar sells in front of the Blue Masque. It's interesting to see the man making it, but it's boring to eat all of it up.

I heard that Germany if famous for its wurst and pork knuckle, so I bought one knuckle in the U-bahn station.

Saturday, August 6, 2011


I broke my toe nail at Berlin airport by my heavy bag. Even though my toe nail is dead and looks ugly, and I still can't walk normally, I am much better now, no more pain. I just need to wait until the new nail grow out.
Thanks for the help of Andrew, Elizabeth, Noelle and Janelle. And the doctor at the airport is very nice. He is kind and skilled. If you get hurt at Tegel airport, you can go to first-aid room of the airport which is on the -1 floor.

Sunday, July 31, 2011

Visual Assignment #2: "Freedom for Ai Weiwei"

We come to travel with our fantasies. These fantasies, at the border of reality, make the line between the real and the fantasized, the personal and the public, the outer world and the inner world ambiguous and porous.  For this assignment we’d like you to offer one picture or image that you’ve taken here in Berlin that captures best for you the crossing of your fantasies about this summer abroad and the world of difference you actually found here in Berlin.

“Traveling tells you that all you heard about a country is wrong.”—From a book in IPE office

In my mind Berlin is a developed industrial city, and Germany has high-tech electronic products. Berlin is just like what I saw in the early 20th century's German silent films that city is clean and people are all busy. So before I come to Berlin, I thought Berlin is a city with everything orderly. Berliners are rigorous, strict and lack of humor.

But after I got here I found every corner of this city has some artistic, humorous and creative work.
When I walk along a street I can always come across some interesting graffiti and stickers. The diversity of arts is already been a part of the specialties of Berlin. For example, I used to see a wall with one side painted a rabbit while another side is the skeleton of that rabbit, on another wall I saw a poster with a sign saying: ”Don’t fart on fashion shows.” Maybe these graffiti are not elegant, even make Berlin look like a little bit messy, but they give this city much vitality and interests.

Besides the aesthetic part of art, the performance art is also very active and diverse in Berlin. Lovers play guitar at flea market; some bands play instruments and sing at Alexander platz; Dancer interact and make jokes for spectators. And their audiences also like and respect their performances. Art of Berlin is not only lives in museum or gallery, but also lives on the street, in the market, in the park and very part of the city. Even the traffic lights are interesting, using a cute boy with a little hat. Berlin leaves a place for the artists to breathe and create.

The above picture is taken on 7th of July before the museum—Martin Gropius Bau. The banner on the picture says: ”Freedom for Ai Weiwei”, which is designed by Günther Uecker. Ai Weiwei, a famous Chinese contemporary artist and political activist, was arrested on 6th April and released on 22 June. And the banner is installed for demanding freedom for Ai Weiwei, which shows us the respect and protection for the artists of Germen.

From the article of Feng Xiaogang, a friend of Ai Weiwei and a famous Chinese director, I found Ai Weiwei is an interesting artist, who likes to put two independent things together. Most of these things are hard to think up together. For example, he put a basketball in to a big poly bag and threw it out of the window then watched it jumping on the street. Passers-by are attracted and confused by it. Based on this kind of creative and uninhibited personality Ai Weiwei hates to be disciplined. Thus he dislikes Chinese government’s control. His arrest also has some political reasons. There is a series of photographs of Ai Weiwei. In the pictures Ai Weiwei is naked only with a toll covering the middle. “The caption ‘grass mud horse covering the middle’ to Ai’s selfportrait sounds almost the same in Chinese as ‘Fuck your mother, the Communist party central committee.’”—Wikipedia.

I don’t like politics and don’t want to say much about it. But as I know there are also many German and American films reflect politics problems and sarcasm their authorities. I just think art should have some freedom. Why can't we leave a part of land for artists breathe like Berlin? Then I found traveling bring me not only across the border of fantasies and reality in Berlin, but also across the fantasies and reality in my own communities. I across the border of rumor and truth of both the destination and the place of departure.

Friday, July 29, 2011

Final Write-Up -- Silent Film Never Keep Silent

Silent Films Never Keep Silent
-- Comparison of German society in silent film period and contemporary German society
The URL address of the research video:
“Films tell stories – time and again new ones, time and again the same. On the screen we see men and women, happiness and sorrow, love and suffering. The images show rooms, actions, motions, kisses, and above all, LOOKS.” – A board of Film Museum
     Nowadays, when we get into a cinema we can see there are many posters showing about the technologies used in film production, such as 3-D and Imax. It seems people are more and more interested in high-tech movies. But as it shown on the board of film museum that the most important function of films is telling stories. So my interests of films are focus on acting and stories themselves in the films. And silent films in the early 20th century, which don’t have many special film effects, are the best models presenting the art of acting and telling audience the stories happened at that period.
    One of the purposes of my research is to see the society and their social problems in early 20th century through the stories in silent films. There are several reasons for that silent film is the approach to understand the society of that era. First, film production is based on the social activities. The writers, directors, actors and film production companies were all living and experiencing the society of that time. Thus the production of films is based on their experience and events happened in early 20th century to reflect people’s life and social problems. And the releasing of films is also under the control of their government and powerful institutions. Second, film, as a kind of media, its expression has some political, cultural or social purposes to the audiences. So film production must be focus and related to the society. Third, in early 20th century Berlin, a well-developed city, has abilities and interests to develop this new kind of art—film. Thus in aesthetic area, arties like to put their talents in film production. While in economic area, people also like to put budgets to support the film production. Thus the booming of silent films gives me the chance to see the society and social problems in early 20th century.
    However, stories in the films just stay in the films, but the audiences who watch those stories are living out of the films. People of that time know the problems in films in order to seek the ways to get rid of those predicaments. When we see those films today, we hope to bring those experiences from the films to our real life. So the comparison between the social problems in early 20th century and today’s life is unavoidable. And because today’s Berlin’s construction is based on its history and the older time, these two societies of different time are comparable. Thus another purpose of this research is comparing the differences between the society of early 20th century shown in the silent films and the present society, which we are experiencing and living today.
Across the time, stories were on show
    Form the earliest moving pictures to today’s 3-D movies films production has already been developed for more than 100 years. The golden period of German silent films is between 1910 and 1930. German films before 1933 can be divided into two periods: the appearance of the first film dissertation to the end of Imperial Germany (1910-1918) and the Weimar Republic (1919-1932). The table below shows the main social problems presented in 130 German silent films from 1910 to 1930.

Social Issue
Number of films
Social Issue
Number of films
Relations between Classes
War and Peace
Human’s Nature

    As the table shows the top two problems presented in German silent films are love and family, which are the major problems in almost every time and every society. Especially from 1914 – 1918, before World War I, the social problems of silent films are divided into two groups. First group is about love and families, while the other one is about crime. Love films show people’s emotional demands. And some problems of love shown in films are always combined with the problems of classes. People with different classes fall in love then have to face with the social complains and the opposition from their families, which reflect the big gap of work class and upper class. Films about crime show Berlin’s citizens’ seeking for a harmony society.
    During World War I, the problems about economy began to arouse in silent films, such as unemployment problem, luxury life of upper class and people’s greed of money. For example, the film Die Börsenkönigin (The Queen of the Stock Exchange) (1918), which is produced just after World War I, told about problems of upper class people’s luxury life and gaps between work class and upper class. The heroine, Frau Helene Netzler wants to maintain her luxury life. In order to do so she must keep the level of production of her cooper mine very high. The new vein gives her the opportunity to speculate in the stock-market and increase her wealth; that’s the way the bourgeoisie make a lot of money. Of course these are only possible thanks to the efforts, sweat and hard work of their employees. This film reflect some economical problems during the World War I, and some film reviewer also think: “These poor men and women worked hard in terrible and unsafe conditions in contrast to the luxury and comfort enjoyed by their masters who live in wonderful mansions surrounded by magnificent gardens and having at their command businessmen in tuxedos and top hats, reflecting in this way the contradictions of a Germany defeated in the Great War.” In this film the director gave the real cooper mine workers appear in some of the scenes. These documentary shots in the films reveal the real problems between work class and upper class of that time.
    In the word of Thomas G. Plummer from the book “Film and Politics in the Weimar Republic”:
Because Germany consisted of so many various political, economic, and geographic units, its social strata were perhaps more complex than those elsewhere. At the very top of the social pyramid live the princes and other high aristocrats who, after 1918, had no political power and sometimes no money, but who could still bask in the sunshine of their illustrious descent. Immediately, below those few hundred individuals were those, mostly land-based, families who had traditionally provided Prussia, Bavaria, and the other major states with their generals, diplomats, and high functionaries. No less important by the 1920s were such various types as the patrician or not-so-patrician merchants and shipowners of Hamburg and Bremen; the owners and managers of industry, particularly of heavy industry; the great financiers; and the foremost academics and professionals, among them, at the top of the prestige ladder, the director-professors of the great university clinics.
Because of this German social composition during 1920s, the relations about the classes are always the focus in the silent films both during World War I and later, Weimar Republic. In Fritz Lang’s expressionism film, Metropolis (1927), shows this problem between the classes. In Metropolis, Fritz Lang tells a story about a futuristic city, which is sharply divided between the working class and the city planners. The workers in that film all have same faces and wear same cloths, and they don’t need to think, the only thing they should do is repeating the heavy jobs every day under the terrible working condition in the underground of the city. And the city planner, taken as the only thinker in this city, lives in the top of the city. From the pictures below, you can see the workers with same faces, and the luxury life of the city planner’s son.

These distinctive contrasts present and intensify the contradiction between two groups. In the film, Metropolis, workers are aware of this inequality and make a stand for their rights, which is also an alarm bell for the real society.
    Problem about the classes is not only the problem in Germany, but also the problem in Turkey at early 20th century. At the same time period, there is a painting by Yükel Arslan presents the same problem and use the same techniques as that in Metropolis, which is called “Capitalist Production Process, 1”. It was painted in 1933. “It presents a caustic, symbol-based view of impact of capitalist production processes on society and the individual of workers ‘standardized’. They all have same facial features, and factory owners, heads have been transformed into coins” from the introduction of this painting in Turkish Modern Museum. He also has many other paintings showing the same social problems. In conclusion, we can see the relations about classes are the main problems in European countries at early 20th century.
What are changed, and what are remained?
    An incredible view in the film—Berlin, Symphony of a Great City (1927) is that Berliners are so busy and the streets are so crowed as we can see today. The diversity of shops, the busyness of transportations and stations and the foods they eat are all so similar with the society we are experiencing now. Please see the video attached, which shows sameness about two societies. And the problem about the poor and rich classes is still remains today. In Berlin, Symphony of a Great City, director compares the different ways of eating, working and living between rich people and tatty people. In my video, you can also see the same problem about the gap between different classes in cotemporary society. Of course there are also many differences between these two time periods in Berlin.
Reflection about History
     In early 20th century, most silent films show people’s imaginary about the future. Films want to present the development of science, technology and industry during that time to their audience. Like in the film Berlin, Symphony of a Great City (1927) some shots show real factories producing process to reflect Berlin’s industry developing. And also in expressionism films, we can see many mad scientists who are studying advanced science and use them in many mad ways. For example, in the film Metropolis (1927), the crazy scientist creates a new creature and wants to use it to destroy the city. This film also presents us a futuristic modern city where have many tall buildings and cars flying among this modern city.
    But today when we get into Berlin, we can see more historical buildings. Many Berlin’s constructions are based on the memory of the history, like Soviet War Memorial, Sachsenhausen Concentration Camp, museum about Nazi and many other kinds of museums about history. They are used for commemorating the past, more importantly, used as the caution for today’s people. As my professor Chandan ever said: “History is the evidence of the present, uses of past to dominate in the present, discover the rules of present.” Especially after World War II, Berlin likes to rethink and reflect on the history in order to avoid the same mistakes. Besides these buildings, museums and memorials built in Berlin, Germany also produces many films about their reflecting of the history, for instance, the film Der Himmel über Berlin (Wings of Desire) (1987) uses the views of angels to show people’s concerns of the history.
    Another difference in today’s Berlin is about the art in this city. As we can see in the film Berlin, Symphony of a Great City (1927), the posts and walls are clean, citizens’ life is orderly, and Berlin is focus on industrial producing and science developing. But today we can see many kinds of art generated in this city. Many kinds of museums and galleries are flourishing in today’s Berlin, such as for paintings, photographs, sculptures, architectures, film art and audio arts.
    Art of Berlin is not only lives in museum or gallery, but also lives on the street, in the market, in the park and very part of the city. At every corner of this city I can find some artistic, humorous and creative work. Different kinds of posters, the graffiti on the walls, street performers and many different kinds of live are active in every part of the city. The diversity of arts is already been a part of the specialties of Berlin. For example, the posts are not as clean as it used to be in early 20th century. The picture from the film, Berlin, Symphony of a Great City, shows the clean post of that time, which you can see below. Today, there are many interesting posters and pictures on posts. You can also see them from the pictures below. Maybe these graffiti are not elegant, even make Berlin look like a little bit messy, but they give this city much vitality and interests. Street performance art is also very active and diverse in Berlin. In my video there are saxophone player playing at street, and lovers playing guitar at a park. What’s more, even the traffic lights are interesting, using a cute boy with a little hat. Art is living in every corner of today’s Berlin. 

Racism and Migration
    Film is not openly racist but it is evident. In German silent films, which show racial problems between 1910 and 1930, most are focus on Jewish people. They tell the stories happened in Jewish families to show their culture and their struggles. In the film Das Alte Gesetz (This Ancient Law) (1923), which tells a story in a Jewish family, shows us the struggle of a Jewish son of an orthodox rabbi in keeping tradition of his family and chasing his dream to becoming an actor. And in another film, Der Golem, wie er in die Welt kam, shows that: “in 16th-century Prague, a Jewish rabbi creates a giant creature from clay, called the Golem, and using sorcery, brings the creature to life in order to protect the Jews of Prague from persecution.” These films are all reflect the racial problem among Jewish people.
    Besides the films about Jewish people, there is also a movie about aliens in Germany of early 20th century, which is called Wenn die Abendglocken läuten (1930). This film shows the racism problem about gypsies in a subtle way, that it comparing the two ways of life and cultures and saying that social conflict is inevitable given the rules and traditions of the gypsies.
    Today Berlin’s racism problems are no longer stay among Jewish and Gypsies. Turkish migrants’ problem shows in Berlin society after World War II, more and more migrants come into this city, like “work guests”. And as we can see and learn today, in Berlin, there are lots of Turish migrants. Their population, culture and economy are all become the problems in today’s Berlin. Based on this situation, there are many films today showing the problem of immigration, such as the film The edge of the Heaven and Lola und Bilidikid. But one interesting point is that even the racial groups are changing by the time, but these groups face with same struggles: most of the films reflect the problems happened in their families.
    In the film, Das Alte Gesetz, when the rabbi, desperate to know what has drawn his son away, opens up a copy of HAMLET to read.... and opens it the wrong way, as if it were a book in Yiddish or Hebrew, from right to left, instead of the other way around. In another film Lola und Bilidikid there is a similar shot: when the Muslim mother know his son is a gay, she leaves the home. While she is walking on the street she takes her scarf away. And in the film The edge of the Heaven, the hero, Nejat, talks about an Islamism story that the God asks an Ismail to kill his son in order to show his loyalty. And Nejat asks his father what he will do if he is told so. His father told him even though he betrays the God, he will protect his son. At those times, when they faced with the problems of their kids, the rules of these parents’ world are no longer work. I think that’s the reason why even in different time and different society, love and family are always the most important problem in the films. And that’s why we appeal equality for each group of people. People are same in born.

130 Germen Movies from 1910-1930 used for the research

1. Die Verraterin (1911) 40min
Director: Urban Gad

Stars: Asta Nielsen, Max Obal and Robert Valberg
Classification: Love, Patriotism
2. Die arme Jenny(1912) 34mins
Director: Urban Gad
Stars: Asta Nielsen
Classification: Love, Class
3. Zweimal gelebt (1912) 30min
           Director: Max Mack
 Stars: Ernst Rückert/Eva Speyer
           Classification: Love, Family
4. Der Andere (1913)
Director: Max Mack
Stars: Albert Bassermann, Emmerich Hanus
Classification: Crime
5. Wo ist Coletti? (1913) 86min
            Director: Max Mack
            Stars: Hans Junkermann, Madge Lessing and Heinrich Peer
            Classification: Crime
6. Der student von Prag (1913) 85min
            Director: Stellan Rye and Paul Wegener

Stars: Paul Wegener
Classification: Love, Class
7. Richard Wagner (1913) 110min
Director: Carl Froelich and William Wauer
Stars: Giuseppe Becce and Olga Engl
Classification: Biography
8. Die Schwarze Kugel oder Die geheimnisvollen Schwestern (1913) 39min
Director: Franz Hofer
Stars: Paul Meffert, Mia Cordes and Manny Ziener
Classification: Family, Crime and Love
9. Die Jagd nach der Hundertpfundnote oder Die Reise um die Welt (1913)
Director: Willy Zeyn
Stars: Josef Coenen

Classification: N/A
10. Auf einsamer Insel (1913) 30min
Director: Joseph Delmont
Stars: Fred Sauer, Mia Cordes, Joseph Delmont
Classification: N/A
11. Der Stolz der Firma (1914)
Director: Carl Wilhelm
Stars: Ernst Lubitsch/Martha Kriwitz/Victor Arnold
Classification: Love and Class
12. Engelein (1914) 49min
Director: Urban Gad
Stars: Asta Nielsen
Classification: N/A
13. Der Golem (1915) 60min
Director: Henrik Galeen, Paul Wegener
Stars: Paul Wegener, Rudolf Blümner, Robert A. Dietrich
Classification: Authority
14. Schuhpalast Pinkus (1916)
Director: Ernst Lubitsch
Stars: Guido Herzfeld/Else Kentner/Ernst Lubitsch
Classification: Unemployment and class
15. Die Börsenkönigin (1918) 53min
Director: Edmund Edel

Stars: Asta Nielsen
Classification: Class and Economic Problem
16. IV Homunculus, 4. Teil - Die Rache des Homunculus (1916) 68min
Director: Otto Rippert
Classification: War and Authority
17. Wo ist mein Schatz? (1916) 35min
Director: Ernst Lubitsch
Stars: Ernst Lubitsch, Louise Schenrich, Lanchen Voss, Julius Falkenstein
Classification: Family
18. Hoffmanns Erzählungen (1916)
Director: Richard Oswald
Classification: Career
19. Furcht (1917) 72min
Director: Robert Wiene
Classification: Crime and Religion
20. Dornröschen (1917)
Director: Paul Leni

Stars: Mabel Kaul, Harry Liedtke, Käthe Dorsch
Classification: Love
21. Das Fidele Gefängnis(1917) 48min
Director: Ernst Lubitsch

Stars: Harry Liedtke, Ossi Oswalda, Emil Jannings
Classification: Family and Homosexual
22. Hilde Warren und der Tod (1917) 80min
Director: Joe May

Stars: Mia May, Bruno Kastner and Georg John
Classification: Family and Crime
23. Les Yeux de la momie Ma (1918)
Director: Ernst Lubitsch

Stars: Pola Negri, Emil Jannings and Harry Liedtke
Classification: Love
24. Ich möchte kein Mann sein (1918) 45min
Director: Ernst Lubitsch
Star: Ossi Oswalda, Ferry Sikla, Margarete Kupfer and Kurt Götz
Classification: Class of sexes, family
25. Carmen (1918) 70min
Director: Ernst Lubitsch

Stars: Harry Liedtke/Pola Negri/Leopold von Ledebur
Classification: Love
26. Der Ewige Zweifel (1918) 41min
Director: Richard Oswald

Stars: Leonhard Haskel/Johanna Terwin/Nelly Guttmann
Classification: N/A
27. Die Austernprinzessin (1919)47min
Director: Ernst Lubitsch

Stars: Victor Janson/Ossi Oswalda/Harry Liedtke
Classification: Class
28. Harakiri (1919) 80min
Director: Fritz Lang
Stars: Paul Biensfeldt, Lil Dagover and Georg John
Classification: Love
29. Anders als die Andern (1919) 50min
Director: Richard Oswald

Stars: Conrad Veidt, Reinhold Schünzel and Fritz Schulz Diegelmann/Magnus Hirschfeld/Karl Giese
Classification: Homosexual
30. Puppe, Die (1919) 48min
Director: Ernst Lubitsch
Stars: Josefine Dora, Victor Janson and Marga Köhler
Classification: Family
31. Madame DuBarry (1919)
Director: Ernst Lubitsch
Stars: Pola Negri and Emil Jannings
Classification: Class, authority and love
32. Opium (1919) 112min
Director: Robert Reinert

Stars: Eduard von Winterstein/Sybill Morel/Werner Krauss
Classification: Family
33. Nerven (1919)
Director: Robert Reinert
Stars: Eduard von Winterstein
Classification: War and Peace
34. Unheimliche Geschichten (1919) 112min
Director: Richard Oswald
Classification: Crime
35. Die Teufelskirche (1919) 47min
Director: Hans Mierendorff
Classification: Good and evil
36. Spinnen - Der Goldenne See (1919) 81min
Director: Fritz Lang

Stars: Carl de Vogt, Ressel Orla, Georg John
Classification: Adventure
37. Spinnen 2 - Das Brillanten Schiff (1920) 69min
Director: Fritz Lang

Stars: Carl de Vogt, Ressel Orla, Georg John, Lil Dagover
Classification: Crime
38. Der Golem, wie er in die Welt kam (1920) 85min
Director: Carl Boese, Paul Wegener

Stars: Paul Wegener/Albert Steinrück/Lyda Salmonova
Classification: Racism, Jewish
39. Die Kanzlei (1920)
Classification: Love
40. Das Cabinet des Dr. Caligari. (1920) 71min
Director: Robert Wiene

Stars: Werner Krauss/Conrad Veidt/Friedrich Feher
Classification: Crime, Peace and War, Authority
41. Anna Boleyn (1920) 100min
Director: Ernst Lubitsch
Stars: Henny Porten, Emil Jannings and Paul Hartmann
Classification: History
42. Sumurun( 1920) 115min
Director: Ernst Lubitsch

Stars: Pola Negri, Paul Wegener, Harry Liedtke, Ernst Lubitsch
Classification: Love and Class
43. Das wandernde Bild (1920) 45min
Director: Fritz Lang

Stars: Mia May, Hans Marr, Harry Frank, Rudolf Klein-Rogge and Loni Nest
Classification: Family
45. Romeo und Julia im Schnee (1920) 45min
Director: Ernst Lubitsch
Stars: Gustav von Wangenheim, Lotte Neumann
Classification: Love and Family
46. Algol (1920)
Director: Hans Werckmeister
Stars: Emil Jannings, John Gottowt
Classification: Classes of rich and poor, work class
47. Der Reigen - Ein Werdegang (1920)
Director: Richard Oswald

Stars: Asta Nielsen, Conrad Veidt
Classification: N/A
48. Kohlhiesels Töchter (1920) 63min
Director: Ernst Lubitsch

Stars: Henny Porten/Emil Jannings
Classification: Family
49. Scherben (1921) 61min
Director: Lupu Pick

Stars: Werner Krauss, Edith Posca
Classification: Family and Crime
50. Der Müde Tod (1921) 105min
Director: Fritz Lang

Stars: Lil Dagover, Walter Janssen, Bernhard Goetzke
Classification: Love
51. Gang in die Nacht, Der (1921) 69min
Director: F.W. Murnau
Classification: Love
52. Der Galiläer (1921) 47min
Director: Dimitri Buchowetzki

Stars: Adolf Faßnacht
Classification: N/A
53. Die Bergkatze (1921) 79min
Director: Ernst Lubitsch
Stars: Pola Negri, Victor Janson, Paul Heidemann
Classification: Class and love
54. Hamlet (1921) 131min
Director: Sven Gade, Heinz Schall

Stars: Asta Nielsen, Prince Hamlet and Fritz Achterberg
Classification: Family
55. Das indische Grabmal: Die Sendung des Yoghi (1921) 120min
Director: Joe May
Stars: Olaf Fønss, Mia May and Conrad Veidt
Classification: Adventure and Fantasy
56. Das indische Grabmal (1921) 100min
Director: Joe May

Stars: Olaf Fønss, Mia May, Conrad Veidt
Classification: Adventure and Fantasy
57. Vier um die Frau (1921) 52min
Director: Fritz Lang

Stars: Hermann Böttcher, Anton Edthofer and Robert Forster-Larrinaga
Classification: Love
58. Tischlein deck dich, Eselein streck dich, Knüppel aus dem Sack (1921) 65min
Director: Wilhelm Prager
Classification: Family, Tale
59. Brandherd (1921)
Director: Hanns Kobe
Stars: Gerd Fricke, Ferdinand Gregori, Eugen Klöpfer
Classification: Love and Class
60. Sappho (1921)
Director: Dimitri Buchowetzki
Stars: Pola Negri
Classification: Love
61. Hintertreppe (1921) 40min
Director: Leopold Jessner, Paul Leni

Stars: Henny Porten, William Dieterle and Fritz Kortner
Classification: Love and Class
62. Nosferatu, eine Symphonie des Grauens (1922) 94min
Director: F.W. Murnau

Stars: Max Schreck, John Gottowt and Greta Schröder
Classification: Authority
63. Dr. Mabuse, der Spieler (1922) 297min
Director: Fritz Lang

Stars: Rudolf Klein-Rogge, Aud Egede Nissen and Alfred Abel
Classigication: Crime
64. Phantom (1922) 125min
Director: F.W. Murnau

Stars: Alfred Abel, Grete Berger and Lil Dagover
Classification: Religion
65. Der brennende Acker (1922) 110min
Director: F.W. Murnau

Stars: Werner Krauss, Eugen Klöpfer and Vladimir Gajdarov
Classification: Love and Class, Human’s greed
66. Nathan, der Weise (1922) 128min
Director: Manfred Noa
Stars: Werner Krauss, Carl de Vogt and Fritz Greiner
Classification: Religion
67. Das Weib des Pharao (1922)
Director: Ernst Lubitsch
Stars: Emil Jannings, Harry Liedtke and Dagny Servaes
Classification: History and Authority
68. Die Gezeichneten (1922) 105min
Director: Carl Theodor Dreyer
Stars: Adele Reuter-Eichberg, Vladimir Gajdarov and Polina Piekowskaja
Classification: Racism, War and Peace
69. Vanina oder Die Galgenhochzeit (1922)
Director: Arthur von Gerlach

Stars: Asta Nielsen, Paul Wegener and Paul Hartmann
Classification: N/A
70. Die Straße (1923) 74min
Director: Karl Grune
Classification: Crime, Seek harmony
71. Raskolnikow(1923)135min
Director: Robert Wiene
Stars: Gregori Chmara, Elisabeta Skulskaja and Alla Tarasova
Classification: Crime and Love
72. Schatten - Eine nächtliche Halluzination (1923) 90min
Director: Arthur Robison
Stars: Alexander Granach and Max Gülstorff
Classification: Love, Horror
73. Der Schatz (1923)
Director: Georg Wilhelm Pabst
Classification: Love, family and money
74. Der Kaufmann von Venedig (1923)
Director: Peter Paul Felner
Classification: N/A
75. Der Steinerne Reiter (1923)
Director: Fritz Wendhausen

Stars: Rudolph Klein-Rogge and Erika von Thellmann
Classification: Love and Class
76. Das Alte Gesetz (1923) 128min
Director: Ewald André Dupont

Star: Henny Porten
Classification: Racism, Jewish and family
77. Die Nibelungen: Siegfried (1924) 143min
Director: Fritz Lang

Stars: Gertrud Arnold, Margarete Schön and Paul Richter
Classification: Adventure, Love and family
78. Nibelungen: Kriemhilds Rache, Die (1924) 144min
Director: Fritz Lang

Stars: Margarete Schön, Gertrud Arnold and Theodor Loos
Classification: Family, Adventure
79. Der letzte Mann (1924) 101min
Director: F.W. Murnau

Stars: Emil Jannings, Maly Delschaft and Max Hiller
Classification: Classes
80. Mikaël (1924) 93min
Director: Carl Theodor Dreyer
Stars: Walter Slezak, Max Auzinger and Nora Gregor
Classification: Love, Homosexual
81. Wachsfigurenkabinett, Das (1924) 65min
Director: Leo Birinsky and Paul Leni
Stars: Emil Jannings and Conrad Veidt
Classification: Love
82. Orlacs Hände (1924) 90min
Director: Robert Wiene

Stars: Conrad Veidt, Alexandra Sorina and Fritz Kortner
Classification: Human’s nature
83. Helena (1924) 204min
Director: Manfred Noa
Stars: Edy Darclea, Vladimir Gajdarov and Carl de Vogt
Classification: N/A
84. Die Finanzen des Großherzogs (1924) 80min
Director: F.W. Murnau

Stars: Mady Christians, Harry Liedtke and Robert Scholtz
Classification: Politics
85. Sylvester (1924) 66min
Director: Lupu Pick
Classification: N/A
86. Nju - Eine unverstandene Frau (1924)
Director: Paul Czinner

Stars: Elisabeth Bergner and Emil Jannings
Classification: Love
87. Herr Tartüff (1925) 74min
Director: F.W. Murnau

Stars: Lil Dagover, Werner Krauss and Emil Jannings
Classification: Family
88. Varieté (1925) 112min
Director: Ewald André Dupont
Classification: Crime and career
89. Freudlose Gasse, Die (1925) 175min
Director: Georg Wilhelm Pabst

Stars: Asta Nielsen, Greta Garbo, Agnes Esterhazy and Werner Krauß
Classification: Family and Class
90. Zur Chronik von Grieshuus (1925) 110min
Director: Arthur von Gerlach
Stars: Lil Dagover, Arthur Kraußneck and Paul Hartmann
Classification: Love and class
91. Wege zu Kraft und Schönheit - Ein Film über moderne Körperkultur (1925) 100min
Director: Nicholas Kaufmann and Wilhelm Prager
Classification: Body culture
92. Der Rosenkavalier (1925) 105min
Director: Robert Wiene

Stars: Michael Bohnen, Huguette Duflos and Paul Hartmann
Classification: Love
93. Wunder der Schöpfung (1925)
Director: Hanns Walter Kornblum
Stars: Margarete Schön, Theodor Loos and Paul Bildt
Classification: Science
94. Faust - Eine deutsche Volkssage (1926) 116min
Director: F.W. Murnau

Stars: Gösta Ekman, Emil Jannings, Camilla Horn and Frida Richard
Classification: Human’s nature
95. Der Heilige Berg (1926) 100min
Director: Arnold Fanck

Stars: Leni Riefenstahl and Louis Trenker
Classification: Love, friendship
96. Die letzte Droschke von Berlin (1926)
Director: Carl Boese
Classification: Family
97. Geheimnisse einer Seele (1926) 97min
Director: G.W.Pabst

Stars: Werner Krauss and Ruth Weyher
Classification: Family
98. Student von Prag, Der (1926) 110min
Director: Henrik Galeen
Classification: Classes and Love
99. Der Geiger von Florenz (1926) 68min
Director: Paul Czinner

Stars: Elisabeth Bergner and Conrad Veidt
Classification: Family
100. Metropolis (1927) 210min
Director: Fritz Lang

Stars: Alfred Abel, Gustav Fröhlich, Brigitte Helm and Rudolf Klein-Rogge
Classification: Class, Love and Problem of Employment
101. Die Liebe der Jeanne Ney (1927) 100min
Director: Georg Wilhelm Pabst
Classification: Love
102. Berlin: Die Sinfonie der Großstadt(1927)
Director: Walter Ruttmann
Classification: Class, City
103. Was ist los im Zirkus Beely?(1927)
Director: Harry Piel

Stars: Harry Piel
Classification: Crime
104. Der Große Sprung (1927) 112min
Director: Arnold Fanck

Stars: Leni Riefenstahl
Classification: Friendship
105. Die elf Teufel (1927) 98min
Director: Zoltan Korda and Carl Boese

Stars: Gustav Fröhlich, Evelyn Holt and Lissy Arna
Classification: Love
106. Der König der Mittelstürmer (1927) 95min
Director: Fritz Freisler

Stars: Paul Richter and Aud Egede Nissen
Classification: Sports
107. Dirnentragödie (1927) 85min
Director: Bruno Rahn
Classification: Class and love
108. Geschlecht in Fesseln (1928) 107min
Director: William Dieterle

Stars: William Dieterle, Gunnar Tolnæs and Mary Johnson
Classification: Family, prison
109. Spione (1928)17min
Director: Fritz Lang

Stars: Rudolf Klein-Rogge, Gerda Maurus and Lien Deyers
Classification: Crime, war, love
110. Abwege (1928) 98min
Director: Georg Wilhelm Pabst

Stars: Brigitte Helm, Hertha von Walther and Gustav Diessl
Classification: Love and Class
111. Alraune (1928)108min
Director: Henrik Galeen
Classification: Human’s nature, family
112. Ungarische Rhapsodie (1928)
Director: Hanns Schwarz

Stars: Lil Dagover, Willy Fritsch and Dita Parlo
Classification: Class and Love
113. Heimkehr (1928) 120min
Director: Joe May

Stars: Lars Hanson
Classification: War, Love
114. Frau im Mond (1929) 200min
Director: Fritz Lang

Stars: Willy Fritsch, Gerda Maurus and Klaus Pohl
Classification: Science
115. Asphalt (1929) 94min
Director: Joe May

Stars: Albert Steinrück, Else Heller and Gustav Fröhlich
Classification: Love, Crime
116. Fräulein Else (1929) 90min
Director: Paul Czinner

Stars: Elisabeth Bergner
Classification: Family, class of sex
117. Die Büchse der Pandora (1929) 133min
Director: Georg Wilhelm Pabst

Stars: Louise Brooks, Fritz Kortner and Franz Lederer
Classification: Love, homosexual
118. Die Frau, nach der man sich sehnt (1929) 76min
Director: Curtis Bernhardt
Classification: Crime
119. The Wonderful Lie of Nina Petrowna (1929) 92min
Director: Hanns Schwarz

Star: Brigitte Helm
Classification: War, love and classes
120. Ich küsse Ihre Hand Madame (1929) 66min
Director: Robert Land

Stars: Harry Liedtke and Marlene Dietrich
Classification: Love
121. Tagebuch einer Verlorenen (1929) 104min
Director: Georg Wilhelm Pabst

Stars: Louise Brooks, André Roanne and Josef Rovenský
Classification: Crime
122. Weiße Hölle vom Piz Palü, Die (1929) 150min
Director: Arnold Fanck and Georg Wilhelm Pabst

Stars: Gustav Diessl, Leni Riefenstahl and Ernst Petersen
Classification: Love
123. Cagliostro - Liebe und Leben eines grossen Abenteurers (1929)
Director: Richard Oswald

Stars: Hans Stüwe, Alfred Abel and Ivan Koval-Samborsky
Classification: N/A
124. Mutter Krausens Fahrt ins Glück (1929) 121min
Director: Phil Jutzi

Stars: Alexandra Schmitt, Holmes Zimmermann and Ilse Trautschold
Classification: Family, Working class
125. Waterloo (1929) 120min
Director: Karl Grune

Stars: Charles Vanel and Otto Gebühr
Classification: War, love
126. Melodie der Welt (1929) 40min
Director: Walter Ruttmann

Stars: Ivan Koval-Samborskij, Renée Stobrawa and Bernard Shaw
Classification: Religion, Art and Entertainment about the world
127. Napoleon auf St. Helena (1929) 100min
Director: Lupu Pick

Stars: Werner Krauss/Hanna Ralph/Albert Bassermann/Philippe Hériat
Classification: Biography
128. People On Sunday (1930) 74min
Directo r: Curt Siodmak, Robert Siodmak, Edgar G. Ulmer, Fred Zinnemann and Rochus Gliese

Stars: Erwin Splettstößer, Brigitte Borchert, Wolfgang von Waltershausen
Classification: Love, City
129. Der Weiße Teufel (1930) 110min
Director: Alexandre Volkoff

Star: Ivan Mozzhukhin
Classification: Authority
130. Wenn die Abendglocken läuten (1930)
Director: Hanns Beck-Gaden

Star: Hanns Beck-Gaden
Classification: Patriotism and Racism