Texte remanié de: Dissertation--University of Sunderland, 2002. / Bibliogr. p. 156-162.

Texte remanié de: Diss.--Bonn, 1993. / Bibliogr. p. 174-185. Index.

Habil.-Schr.--Universität des Saarlandes, 1997. / Bibliogr. p. [367]-415 (vol. 1). Index.

Zugl.: Saarbrücken, Univ., Diss., 2006.

Zugl.: Saarbrücken, Univ., Diss., 2006

Texte remanié de: Diss.--Fachbereich Philosophie--Münster--Westfälische Wilhelms-Universität, 1997. / Bibliogr. p. 279-317. Notes bibliogr.

Also issued as the author's thesis (doctoral--Universität des Saarlandes, 2006). / Includes bibliographical references (p. 401-428).

Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

Diss.--Universität Amsterdam, 1994. / Bibliogr. p. 267-292.

Between the years of 1919 and 1933, the Weimar Republic was a world leader in art and entertainment. However, it was also torn apart by severe economic depressions and political violence. This intense atmosphere provided a powerful context for the art and films of the period. As the political and economic tides shifted, the style of painting and filmmaking changed, as well. The idealistic Expressionist art of the years immediately following the optimistic revolution subsided as a sober realism emerged. This New Objectivity was both evident in the paintings of artists such as Otto Dix and George Grosz, as well as in the films of G.W. Pabst. However, within the changing artistic and social climate of Weimar Germany, Pabst has received little attention by scholars. This thesis contextualizes G.W. Pabst, one of Weimar's leading film directors, within the artistic transitions and social climate of the era, specifically analyzing issues of class and gender within his silent features. / Master of Arts