From "Caligari" to Dietrich: Sexual, Social, and Cinematic Discourses in Weimar Film on JSTOR

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• matic form and by sexu eties pervasive in

• s in cinematic form and by sexu eties pervasive in the culture of the Weimar Republic. Th quite obvious in the language of Hugenberg's stateme division, plurality, and the "soft and fluid," and the long lithic fusion, ironclad and as solid as stone. This langu psychoanalytically-fear of the female, fear of flacc mythical phallic rigidity-and it is typical of the far Weimar Republic, as Klaus Theweleit demonstrates with t Male Fantasies, his exhaustive psychoanalytical study yny and its relation to fascism (The

• s in cinematic form and by sexu eties pervasive in the culture of the Weimar Republic. Th quite obvious in the language of Hugenberg's stateme division, plurality, and the "soft and fluid," and the long lithic fusion, ironclad and as solid as stone. This langu psychoanalytically-fear of the female, fear of flacc mythical phallic rigidity-and it is typical of the far Weimar Republic, as Klaus Theweleit demonstrates with t Male Fantasies, his exhaustive psychoanalytical study yny and its relation to fascism (Thew

• s in cinematic form and by sexu eties pervasive in the culture of the Weimar Republic. Th quite obvious in the language of Hugenberg's stateme division, plurality, and the "soft and fluid," and the long lithic fusion, ironclad and as solid as stone. This langu psychoanalytically-fear of the female, fear of flacc mythical phallic rigidity-and it is typical of the far Weimar Republic, as Klaus Theweleit demonstrates with t Male Fantasies, his exhaustive psychoanalytical study yny and its relation to fascism (Thewelei