Weimar cinema has become a very dynamic field of research over the last few years. One of the most important contributions surely is Anton Kaes’ Shell Shock Cinema: Weimar Culture and the Wounds of War, but The Many Faces of Weimar Cinema. Rediscovering Germany’s Filmic Legacy (ed. by Christian Rogowski), Stephen Brockmann’s A Critical History of German Film and Tobias Nagl’s Die unheimliche Maschine: Rasse und Repräsentation im Weimarer Kino also add significant new insight into the cinematic culture of the interwar years.
The most interesting current in recent scholarship is the critical reassessment of the traditional canon of Weimar cinema that focused too much on modernist masterpieces like The Cabinet of Dr. Caligari and M. Brigitte Braun’s research on local and regional film is noteworthy in this respect.