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[[File:Weimar_cinema.jpg|left|250px|thumbnail|<i>[https://www.amazon.com/gp/product/B00C4GUBJ8/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00C4GUBJ8&linkCode=as2&tag=dailyh0c-20&linkId=20ce225e2b124777302557fb793223ad The Many Faces of Weimar Cinema: Rediscovering Germany's Filmic Legacy]</i> edited by Christian Rogowski
By John Paul Mason
<i>[https://www.amazon.com/gp/product/B00C4GUBJ8/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00C4GUBJ8&linkCode=as2&tag=dailyh0c-20&linkId=20ce225e2b124777302557fb793223ad The Many Faces of Weimar Cinema: Rediscovering Germany's Filmic Legacy]</i> edited by Christian Rogowski is an anthology of essays dedicated to showing the tremendous variety of film in the Weimar Republic. This book is largely a rebuke of Siegfried Kracauer’s <i>From Caligari to Hitler</i> (1947) and Lotte Eisner’s <i>The Haunted Screen</i> (1952), two foundational works for the historiography of Weimar film which utilized a somewhat narrow set of films. Since the publication of these two works, these films – primarily of the expressionist movement – have received a good deal of focus in the historiography of the Weimar cinema.
Editor Christian Rogowski makes clear in his introduction that these foundational texts carried fundamental flaws which needed to be addressed. He added that the essays within <i>The Many Faces</i> were selected to demonstrate the diversity of Weimar cinema that has often been overlooked. This intention makes a lot of sense, and for the most part, the essays selected do a terrific job of expressing it, showcasing the variety of Weimar cinema. This diverse selection of essays about Weimar film leads to some interesting insights about the Weimar culture that would have been lost in a work which did not address the film variety of Weimar in this way.
