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.

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: http://www.youtube.com/watch?v=mwhO1n4WVRk

“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

Introduction

     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 20^th 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 20^th 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 20^th 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 20^th 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 20^th 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 20^th 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 20^th 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
Love	51	Homosexual	4
Family	28	Friendship	2
Relations between Classes	26	Patriotism	2
Crime	18	Economics	2
War and Peace	8	History	2
Authority	7	City	2
Religion	4	Science	2
Racism	4	Art	2
Human’s Nature	4	Politics	1
Employment	4	Sports	1

    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 20^th 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 20^th 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 20^th 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.

Arts

    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 20^th 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 20^th 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