January 10, 2011 at 1:36 pm | Posted in Economics, Financial, Globalization, Research | Leave a comment









Central bankers’ speeches for 10 January now


Press, Service (

Publications, Service (

Mon 1/10/11

Central bankers’ speeches for 10 January 2011

now available on the BIS website

Jean-Claude Trichet: Economic and Monetary Union – what we have achieved and what we must do next

Duvvuri Subbarao: Dilemmas in central bank communication – some reflections based on recent experience

Janet L Yellen: The Federal Reserve’s asset purchase program

Elizabeth A Duke: The economic outlook

Joseph S Tracy: The shape of the recovery

All speeches from 1997 onwards are available from the BIS website at


Bank for International Settlements



Phone: +41 61 280 8188

Bank for International Settlements (BIS)

Central bankers’ speeches for 10 January now available

Press, Service (

Publications, Service (

Mon 1/10/11


WEIMAR CINEMA: 1919-1933

January 10, 2011 at 1:17 am | Posted in Film, Germany, History, Research | Leave a comment









Weimar Cinema, 1919–1933

Der Himmel auf Erden (Heaven on Earth)

1927. Germany. Directed by Alfred Schirokauer. Screenplay by Reinhold Schünzel, Schirokauer, based on the play Der Doppelmensch by Wilhelm Jacoby and Arthur Lippschitz. With Schünzel, Charlotte Ander, Adele Sandrock, Otto Wallburg. Schünzel was a major comic actor in Weimar cinema, and this may be his most hilarious film. A nightclub, prohibition, a honeymoon, hypocrisy, and cross-dressing come together in one effervescent brew. Courtesy of Bundesarchiv – Filmarchiv, Berlin. Silent. Approx. 97 min.

Der Fürst von Pappenheim (The Masked Mannequin)

1927. Germany. Directed by Richard Eichberg. Screenplay by Robert Liebmann, based on the operetta by Franz Robert Arnold and Ernst Bach. With Curt Bois, Mona Maris, Dina Gralla, Lydia Potechina. Bois, who is best known in the U.S. as the pickpocket in Casablanca, was a successful comic actor of film, stage, and cabaret in Germany until Hitler took power. His cross-dressing role in this Ruritanian farce is a revelation. Courtesy of Bundesarchiv – Filmarchiv, Berlin. Silent. Approx. 84 min.

Dr. Mabuse, der Spieler (Dr. Mabuse, the Gambler)

1922. Germany. Directed by Fritz Lang. Screenplay by Thea von Harbou, based on the novel by Norbert Jacques. With Rudolf Klein-Rogge, Bernhard Goetzke, Alfred Abel, Gertrude Welcker. “Dr. Mabuse is the archetype, the very image of the ingenious criminal. With his phenomenal intellectual powers, he is able to subjugate everyone around him” (from the program notes for the Berlin premiere). Courtesy of Murnau Foundation and Kino International, NY. There will be a 10-minute intermission. Silent. Approx. 280 min.

Morgenrot (Dawn)

1933. Germany. Directed by Gustav Ucicky. Screenplay by Gerhard Menzel, from a story idea by E. Freiherr von Spiegel. With Rudolf Forster, Adele Sandrock, Fritz Genschow, Paul Westermeier. This earnest drama, which British, Dutch, and Polish distributors refused to handle, was well received in New York in 1933. The film, which glorifies German military sacrifice during World War I, has a dubious distinction: its Berlin premiere marked Hitler’s first public appearance as Chancellor of Germany. Courtesy of Murnau Foundation. In German; English subtitles. 80 min.

Kuhle Wampe oder Wem gehört die Welt?

(Whither Germany?)

1932. Germany. Directed by Slatan Dudow. Screenplay by Bertolt Brecht, Ernst Ottwalt. With Hertha Thiele, Ernst Busch, Lili Schönborn, Max Sablotzki. This proletarian rallying cry, set in Kuhle Wampe, a tent city of the unemployed on the outskirts of Berlin, was allowed a limited release after being held up by censors. Less than a year after its release, it was banned outright by the Nazis. Courtesy of Bundesarchiv – Filmarchiv, Berlin. In German; English subtitles. 71 min.

Der Kampf der Tertia

1929. Germany. Directed by Max Mack. Screenplay by Axel Eggebrecht, Mack, based on the book by Wilhelm Speyer. With Karl Hoffmann, Fritz Draeger, August Wilhelm Keese, Gustl Stark-Gstettenbauer. In this curious childhood adventure, a group of high school boys and one exuberant girl undertake a guerrilla campaign to save a community’s cats from extermination. Courtesy of Deutsches Filminstitut, Frankfurt. Silent. Approx. 108 min.

Die Brüder Schellenberg (The Two Brothers)

1926. Germany. Directed by Karl Grune. Screenplay by Willy Haas, Grune, based on the novel by Bernhard Kellermann. With Conrad Veidt, Lil Dagover, Liane Haid, Henry de Vries. A pair of brothers with a “combustible” relationship work at a volatile steel and gas factory; when the inevitable happens, their paths diverge. The film is an apt metaphor for Germany in the mid-1920s. Courtesy of Murnau Foundation. Silent. Approx. 110 min.

Lohnbuchhalter Kremke

1930. Germany. Directed by Marie Harder. Screenplay by Herbert Rosenfeld. With Hermann Vallentin, Anna Sten, Ivan Kowal-Samborski, Wolfgang Zilzer. Films directed by women were a rarity in Weimar cinema, so it’s unfortunate that Harder (who also distributed films for the Social Democratic Party) is virtually unknown today. She recieved critical acclaim for this realistic, unsentimental portrait of a man suffering through Germany’s dire economic situation. Courtesy of Deutsche Kinemathek. Silent. Approx. 68 min.

Jenseits der Strasse (Harbor Drift)

1929. Germany. Directed by Leo Mittler. Screenplay by Jan Fethke, Willy Döll. With Lissi Arna, Paul Rehkopf, Fritz Genschow, Siegfried Arno. A moody atmosphere of dread surrounds this tale of a pearl necklace, a beautiful street-walker, and a passionate young man. Courtesy of Bundesarchiv – Filmarchiv, Berlin Silent, with German intertitles and live English translation. Approx. 70 min.


1930. Germany. Written and directed by Hans Tintner. Based on the play Cyankali Paragraph 218, by Friedrich Wolf. With Grete Mosheim, Nico Turoff, Herma Ford, Claus Clausen. This fervid drama forcefully illustrates the catastrophic consequences of keeping abortion illegal. The film was shown in Berlin but banned in Bavaria. In 1942 the filmmaker was killed in Auschwitz. Courtesy Deutsche Kinemathek. This is an early sound film with little dialogue. Some reels lack a soundtrack. 92 min.

In der Nacht

1931. Germany. Directed by Walther Ruttmann. Featuring the music of Robert Schumann. 7 min.

Melodie der Welt (Melody of the World)

1929. Germany. Directed by Walther Ruttmann. With Iwan Kowal Samborski, Renée Stobrawa, Grace Chiang, O. Idris. This “documentary” about the ocean liner Resolute’s around-the-world cruise may very well be Germany’s first sound film. Although he was not on the voyage himself, Ruttmann “organized” the visuals shot by his cameraman, adding ambient sounds and music to create a compelling visual and aural tour of the globe. Program courtesy of Filmmuseum Munich In German; English subtitles. 50 min.

Die Carmen von St. Pauli (Docks of Hamburg)

1928. Germany. Directed by Erich Waschneck. Screenplay by Bobby E. Lüthge, Erich Waschneck, from an idea by Lüthge. With Jenny Jugo, Willy Fritsch, Fritz Rasp, Wolfgang Zilzer. St. Pauli was the seedy sailors’ quarters in Hamburg. The “Carmen” of the title entices a young seaman to abet her crimes in this fast-moving and atmospheric melodrama. Courtesy of Murnau Foundation Silent. Approx. 85 min.

Emil und die Detektive (Emil and the Detectives)

1931. Germany. Directed by Gerhard Lamprecht. Screenplay by Billie (Billy) Wilder, Paul Frank, based on the novel by Erich Kästner and a story idea by Kästner and Emmerich (Emeric) Pressburger. With Käte Haack, Rolf Wenkhaus, Fritz Rasp, Rudolf Biebrach. A young country boy leads a posse of kids through Berlin to retrieve the money stolen from him on the train to the big city. In German with little dialogue; no English subtitles. 75 min.

Geschlecht in Fesseln (Sex in Chains/Sex in Fetters)

1928. Germany. Directed by Wilhelm Dieterle. Screenplay by Herbert Juttke, Georg C. Klaren. With Dieterle, Mary Johnson, Gunnar Tolnæs, Paul Henckels. Before emigrating to the U.S., where he became known as “William,” Dieterle directed and starred in this melodrama about men in prison and their sexual needs. Courtesy of Deutsche Kinemathek. Silent. Approx. 97 min.

Zur Chronik von Grieshuus (At the Grey House)

1925. Germany. Directed by Arthur von Gerlach. Screenplay by Thea von Harbou, based on the novella by Theodor Storm. With Arthur Kraussneck, Paul Hartmann, Rudolf Forster, Rudolf Rittner. “This dreamy…atmospheric fantasy is set in medieval times and is about the fight of two brothers and their wives (one high-born, and the other of humble origins) over their legacy of the family castle and property under feudal law” (MoMA Circulating Film Library catalog). Courtesy of Murnau Foundation. Silent. Approx. 90 min.

Madame Dubarry (Passion)

1919. Germany. Directed by Ernst Lubitsch. Screenplay by Fred Orbing (aka Norbert Falk), Hanns Kräly. With Pola Negri, Emil Jannings, Reinhold Schünzel, Elsa Berna. This spectacular historical epic, the first German film imported to the U.S. after World War I, was an enormous critical and popular hit. It not only established Lubitsch’s international reputation but drew immediate attention to Germany as a nation of tremendous filmmaking promise. Courtesy of Murnau Foundation. Silent. Approx. 105 min.

Die Austernprinzessin (The Oyster Princess)

1919. Germany. Directed by Ernst Lubitsch. Screenplay by Lubitsch, Hanns Kräly. With Victor Janson, Ossi Oswalda, Herry Liedtke, Julius Falkenstein. Even as early as this 1919 film, German critics applauded the “Lubitsch touch,” noting that, no matter whether the story is strong, or weak, Lubitsch makes it “good,“ with “verve” and “elegance,” and “in a style never before seen in a German comedy” (Film-Kurier, 1919). Courtesy of Murnau Foundation. Silent. Approx. 60 min.

Niemandsland (Hell on Earth)

1931. Germany. Directed by Victor Trivas. Screenplay by Trivas, based on an idea by Leonhard Frank. With Ernst Busch, Vladimir Sokoloff, Hugh Stephens Douglas, Louis Douglas. In this film, which was banned by the Nazis in 1933, five soldiers, finding themselves marooned together in no-man’s land, “discover they are separated…by language and uniforms, but otherwise they have the same thoughts and feelings. Why are they enemies?” (Felix Scherret, Vorwarts newspaper, December 1931). Courtesy of Deutsche Kinemathek. In several languages; no English subtitles. 92 min.

Mädchen in Uniform (Girls in Uniform)

1931. Germany. Directed by Leontine Sagan. Screenplay by Christa Winsloe, F. D. Andam, from Winsloe’s play Gestern und Heute (1930). With Hertha Thiele, Ellen Schwanneke, Ilse Winter, Charlotte Witthauer. A critical hit upon its release in New York, Sagan’s debut feature is set in a Potsdam boarding school for daughters of the aristocracy where iron discipline and frugality are the rule. In the November 1931 issue of Film-Kurier magazine, Lotte Eisner notes that the film “concerns everyone, because it broaches a humane subject unsentimentally…it has to do with humanity, the history of a system….” In German, English subtitles. 90 min.

Der lebende Leichnam (Das Ehegesetz)

(The Living Corpse (The Marriage Statute))

1929. Germany/USSR. Directed by Fedor Ozep. Screenplay by Boris Gusman, Anatoli Marienhof, based on the play by Leo Tolstoy. With Vsevolod Pudovkin, Maria Jacobini, Gustav Diessl, Viola Garden. Perhaps the most successful production of Prometheus-Film, the Soviet-aligned filmmaking company. Starring the great Russian filmmaker Pudovkin, this oft-filmed Tolstoy adaptation tells of a man who must feign death so that his wife, who loves another man, may get a “divorce” in the Russian Orthodox Church. Courtesy of Deutsche Kinemathek. Silent. Approx. 120 min.

Die wunderbare Lüge der Nina Petrowna

(The Wonderful Lies of Nina Petrovna)

1929. Germany. Directed by Hanns Schwarz. Screenplay by Hans Székely. With Brigitte Helm, Franz Lederer, Warwick Ward, Lya Jan. A whopping melodrama set in St. Petersburg during the time of the czars. Nina Petrovna, the mistress of a wealthy Cossack, falls in love with a young cadet. Their happiness is short-lived, but the visual pleasures of Schwarz’s film are rich indeed. Courtesy of Murnau Foundation. Silent. Approx. 115 min.

Die Verrufenen. Der fünfte Stand (The Slums of Berlin)

1925. Germany. Directed by Gerhard Lamprecht. Screenplay by Luise Heilborn-Körbitz, Lamprecht, based on the experiences of Heinrich Zille. With Bernhard Goetzke, Aud Egede Nissen, Arthur Bergen, Hildegard Imhof. Zille was a popular illustrator beloved for his depictions of working-class Berliners. Several “Zille-inspired” features about proletarian life were made, but Zille actually appears in this one. Silent. Approx. 80 min.

Markt in Berlin (Market in Berlin)

1929. Germany. Written and directed by Wilfried Basse. A short documentary about a street market on Wittenburg Platz. Program courtesy of Deutsche Kinemathek. Silent. Approx. 20 min.


1928. Germany. Directed by Carl Froelich. Screenplay by Friedrich Raff, based on an idea by Walter Supper. With Henny Porten, Franz Lederer, Max Maximilian, Margarete Kupfer. “The film deserves credit for giving us a new lover: Franz Lederer. We have nothing like him (in Germany): here is a talent to cultivate” (Film Echo, 1928). Courtesy of Deutsche Kinemathek. Silent. Approx. 91 min.

Razzia in St. Pauli

1932. Germany. Written and directed by Werner Hochbaum. With Gina Falckenberg, Friedrich Gnass, Wolfgang Zilzer, Charly Wittong. A prostitute in St. Pauli hopes for happiness with a criminal. Shot amid foggy alleys, notorious bars, and the misty port of Hamburg, Hochbaum’s film is as much a portrait of a dramatic milieu as it is a saucy drama. The film was banned by the Nazis the year after its release. Courtesy of Deutsche Kinemathek. In German; English subtitles. 64 min.

Das Alte Gesetz (The Old Law)

1923. Germany. Directed by Ewald André Dupont. Screenplay by Paul Reno, based on the novel Erinnerungen by Heinrich Laube. With Avrom Morewski, Ernst Deutsch, Grete Berger, Robert Garrison. Before Dupont stunned the U.S. with Variety (1925), he made about 20 films, including this tearjerker about a rabbi’s son who, despite his parents’ protests, leaves to become an actor. On the eve of what might be his greatest success, he is called home because his father is dying. Two years later Samson Raphaelson’s Broadway play, The Jazz Singer—the film version of which would make history in 1927—became a big success with a remarkably similar narrative. Silent. Approx. 128 min.

Isn’t Life Wonderful

1924. USA. Directed by D. W. Griffith. Screenplay by Griffith, based on the short-story collection Defeat by Geoffrey Moss. With Carol Dempster, Erville Alderson, Neil Hamilton, Frank Puglia. This American production, made outside Berlin, in Kopenick, and outside New York City, in Mamaroneck, depicts the hardships faced by a refugee family in a 1920s Germany ravaged by inflation and unemployment. Griffith, whose sympathies lay squarely with the working class, tells a compassionate tale about redemption through suffering. Unfortunately, the film was never shown in Germany between the wars. Silent. Approx. 123 min.

Ins blaue hinein (Into the Blue)

1931. Germany. Eugen Schüfftan. 36 min.

Der Mann, der seinen Mörder sucht (Looking for His Murderer)

1931. Germany. Robert Siodmak.

Das Blaue vom Himmel (The Blue from the Sky)

1932. Germany. Victor Janson. 77 min.

Mädchen in Uniform (Girls in Uniform)

1931. Germany. Leontine Sagan. 90 min.

Dirnentragodie (Tragedy of the Street)

1927. Germany. Bruno Rahn. Approx. 80 min.

Drei von der Tankstelle

(Three Good Friends/Three from the Filling Station)

1930. Germany. Wilhelm Thiele. 82 min.

Ein Blonder Traum (A Blonde Dream)

1932. Germany. Paul Martin. 101 min.

Hintertreppe (Backstairs)

1921. Germany. Directed by Leopold Jessner, Paul Leni. Approx. 70 min.

Von Morgens bis Mitternachts

(From Morn to Midnight)

1920. Germany. Karlheinz Martin. Approx. 60 min.

Der Hauptmann von Köpenick

(The Captain from Köpenick)

1931. Germany. Richard Oswald. 90 min.

Die Mysterien eines Frisiersalons

(The Mysteries of a Hairdresser’s Shop)

1923. Germany. Erich Engel, Bertolt Brecht. Approx. 25 min.

Das Cabinet des Dr. Caligari

(The Cabinet of Dr. Caligari)

1920. Germany. Robert Wiene. Approx. 70 min.

Irrgarten der Leidenschaft (The Pleasure Garden)

1926. Germany/Great Britain. Alfred Hitchcock. Approx. 75 min.

Varieté (Variety)

1925. Germany. Ewald André Dupont. Approx. 80 min.

Anders als die Andern (Different from the Others)

1919. Germany. Richard Oswald. Approx. 55 min.

Algol: Tragödie der Macht (Algol)

1920. Germany. Hans Werckmeister. Approx. 81 min.

Berlin Alexanderplatz

1931. Germany. Phil Jutzi. 90 min.

Menschen am Sonntag (People on Sunday)

1930. Germany. Robert Siodmak, Edgar G. Ulmer. 74 min.

Das Lied vom Leben (The Song of Life)

1931. Germany. Alexis Granowsky. 71 min.

Fräulein Else

1929. Germany. Paul Czinner. 77 min.

F.P. 1 Antwortet Nicht (F.P. 1 Doesn’t Answer)

1932. Germany/Great Britain. Karl Hartl. 76 min.

Das Wachsfigurenkabinett (Waxworks)

1924. Germany. Paul Leni, Leo Birinsk. Approx 80 min.

Die Koffer des Herrn O. F.

Ein Märchen für Erwachsene (Herr O.F.’s Suitcases)

1931. Germany. Alexis Granowsky. 80 min.

Der weisse Rausch:

Neue Wunder des Schneeschuhs (White Ecstasy)

1931. Germany. Arnold Fanck. 90 min.

The German Film Musical Before and After 1933

An illustrated lecture by Richard Traubner, author of Operetta: A Theatrical History.

Sunrise, A Song of Two Humans

1927. USA. F. W. Murnau. 90 min.


1931. Germany. Fritz Lang. 105 min.


1931. Germany. Géza von Bolváry. 100 min.

Berlin: Die Sinfonie der Grossstadt

(Berlin: A Symphony of a Great City)

1927. Germany. Walther Ruttmann. 70 min.

Vampyr (Vampire)

1932. Germany/France. Carl Theodor Dreyer. 73 min.

Nosferatu: Eine Symphonie des Grauens

(Nosferatu the Vampire)

1922. Germany. F. W. Murnau. Approx. 65 min.

Der letzte Mann (The Last Laugh)

1924. Germany. F. W. Murnau. Approx. 100 min.

Two Narratives of Urban Dread

Bad things happen on public thoroughfares.

Polizeibericht Überfall

(Accident/Police Report, Accident)

1928. Germany. Ernö Metzner. Approx. 20 min.

Die Strasse (The Street)

1923. Germany. Karl Grune. Approx. 75 min.

Wege zu Kraft und Schönheit

(The Way to Strength and Beauty)

1925. Germany. Wilhelm Prager. Approx. 130 min.

Anders als die Andern (Different from the Others)

1919. Germany. Richard Oswald. Approx. 55 min.

Viktor und Viktoria

1933. Germany. Reinhold Schünzel. 100 min.

Der Kongress tanzt (Congress Dances)

1931. Germany. Erik Charell. 92 min.

Ich bei Tag und Du bei Nacht (Early to Bed)

1932. Germany. Ludwig Berger. 95 min.

Ihre Hoheit befiehlt

1931. Germany. Hanns Schwarz. 96 min.

Die 3 Groschen-Oper (The Threepenny Opera)

1931. Germany/USA. G. W. Pabst. 107 min.

Ein toller Einfall (A Crazy Idea)

1932. Germany. Kurt Gerron. 85 min.

Die Frau, nach der man sich sehnt (Three Loves)

1929. Germany. Kurt Bernhardt. Approx. 85 min.

Der Blaue Engel (The Blue Angel)

1930. Germany. Josef von Sternberg. 103 min.

Ich bei Tag und Du bei Nacht (Early to Bed)

1932. Germany. Ludwig Berger. 95 min.

Ihre Hoheit befiehlt

1931. Germany. Hanns Schwarz. 96 min.

Abschied (Farewell)

1930. Germany. Robert Siodmak. 73 min.

Die Hose (A Royal Scandal)

1927. Germany. Hans Behrendt. Approx. 85 min.

Die Büchse der Pandora (Pandora’s Box)

1929. Germany. G. W. Pabst. Approx. 110 min.

Dr. Mabuse, der Spieler (Dr. Mabuse, the Gambler)

1922. Germany. Fritz Lang. Approx. 280 min.


Entries and comments feeds.