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Popular Nationalism, Political Culture, and the Early German Cinema, 1895-1918

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Popular Nationalism, Political Culture, and the Early German Cinema, 1895-1918 MOBILIZING LIGHT AND SHADOW: POPULAR NATIONALISM, POLITICAL CULTURE, AND THE EARLY GERMAN CINEMA, 1895-1918 by JOHN PETERS MERSEREAU A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of History University of Toronto © Copyright by J Peters Mersereau 2015 Mobilizing Light and Shadow: Popular Nationalism, Political Culture, and the Early German Cinema, 1895-1918 J Peters Mersereau Doctor of Philosophy Department of History University of Toronto 2015 Abstract This dissertation explores representations of the German nation as projected onto German cinema screens in the years between the invention of film in 1895 and the end of the Kaiserreich in 1918. This was a period of intense growth for the German film industry. From a novelty feature in travelling exhibitions at the end of the nineteenth century, film was a part of the everyday lives of millions of Germans by the First World War. Unified only in 1871, Germany was a young state and attempts to define, popularize, and harness its national image formed a central and contested aspect of German political culture. This dissertation argues that the conflicting cinematic representations of the German nation in this period should be understood within the larger context of Wilhelmine political history and that invocations of the nation were instrumental in the development of the German cinema. Kaiser Wilhelm II, political pressure groups on the radical right, foreign and domestic film producers, and, ultimately, military and civilian authorities of the German state all promoted cinematic visions of the nation that were overlapping, complementary, and conflicting. Kaiser Wilhelm II was Germany’s first film celebrity and personified onscreen a nation of monarchists and military might, yet his media-constructed political authority was overshadowed by his film stardom. Around 1900, imperialist political associations such as the Navy League and the Colonial Society began to use film to construct an image of the nation as an assertive power, ii transforming their political agendas into cinematic attractions. In the decade preceding the First World War, critics and reformers became increasingly concerned with the effects of film on the German audience. Part of the response to this criticism—and to Germany’s weak position in the international film market place—was the production of films depicting the heroes and events of the national past. Following the outbreak of war in 1914, cinema connected audiences to the war experience and promoted an image of the nation at war. Between 1916 and the end of the war, the state-driven consolidation of the industry and a wave of propaganda films aimed at the domestic audience brought together the nation as it was conceived by the state with the nation as projected in the cinema. iii Acknowledgements Writing this dissertation has been a long process, and as with many such projects, it has accumulated its share of debts. This dissertation would not have seen completion without an engaged and supportive committee. I wish to thank my supervisor, Jennifer Jenkins, for her patience, her insight, and her ability to see connections in places I had not thought to look. My other committee members, Jim Retallack and Rob King, were generous with both their time and their considerable expertise. My thinking has benefitted from their thoughtful commentary. Johannes von Moltke was an ideal external appraiser. His questions, criticisms, and observations will prove invaluable as the project moves forward in the future. I would also like to thank my internal externals, Charlie Keil and Angelica Fenner, for giving their time and their critical perspectives. Many of the ideas that appear in this dissertation were workshopped at various meetings of the German Studies Association, the Society for Cinema and Media Studies, the Canadian Historical Association, and the Film Studies Association of Canada, and I would like to extend thanks to those attendees for their comments. The research for this project was undertaken at a number of institutions, and I would like to thank the staffs of the Staatsbibliothek zu Berlin, the Deutsche Kinemathek, as well as the Bundesarchiv Koblenz and Berlin-Lichterfelde. The staff at the Bundesarchiv-Filmarchiv in Berlin were particularly welcoming to a Canadian researcher who struggled with loading film reels and insisted on watching the same (silent) clips over and over again. In Toronto, the staff at Robarts Library, in particular those at Document Delivery, have been most helpful. This research would have been made more difficult without the financial support of the University of Toronto, the government of Ontario, the Joint Initiative in German and European Studies at the University of Toronto, the Val Duncan Travel Grant, and the Canadian Union of Public Employees Local 3902. iv Whether through their expertise or encouragement many other individuals have made this process more rewarding. Foremost, Nathan Wilson has reminded me over and over again how good it is to go through grad school with a buddy. Numerous conversations with Liz Clarke have shaped my thinking on the nation, war, and the early cinema. I am similarly indebted to my friends and co-Germanists Erin Hochman, Heather Dichter, Stacy Hushion, and Ryan Masters for hundreds of discussions, lofty and profane, about all things German. I have also benefited from working alongside many modern Europeanist graduate students at the University of Toronto, in particular Tomaz Jardim, Katie Edwards, Misha Kogan, Andrew Tracy, Dan Rosenthal, Anthony Cantor, and Lilia Topouzova. Insight from other areas of temporal and geographic specialization (as well as welcome support and distraction) have come from Jared Toney, Nadia Jones-Gailani, Meaghan Marian, Camille Begin, Brad Miller, Julia Rady-Shaw, Julie Anderson, Sam Cohen, Jodi Giesbrecht, Holly Karibo, Beth Jewett, Brandon King, Ben Pottruff, Paul Lawrie, Brandon Corcoran, Bret Edwards, Lindsay Sidders, and Matthieu Vallieres. John Bingham at Dalhousie University has been a valued friend and mentor since I first stepped into his German history survey as an undergraduate. I would like to thank Nick Wilkinson, Nicole Arsenault, Dennis Braun, Jane Walter, Joseph Rosenberg, Anna Birnie- Lefcovitch, Jeffers Lennox, Liam van Beek, Justin Boisvert, Steven Fabian, and Andrea Shannon for their many, many years of understanding friendship. My deepest thanks go to my family, who offered unconditional support even if they didn’t quite understand why a simple question like “when will you be finished school” didn’t have a more tangible answer. So, to my siblings and their families—Genny, Jason, Tom, Stephanie, Joe, Alissa, Makayla, Jermaine, Ava, Aria, and Josephine—thank you and I’m done. I would like to extend special thanks to Ellen O’Reilly for a lifetime of encouragement, Linda McCarthy for welcoming me into her family, and to Monte Peters for his example, his v understanding, and his confidence. Vanessa McCarthy has been my best friend and partner since this dissertation was little more than an ill-thought-out grant proposal. She believed steadfastly that I would finish this project when no one else in our house did. Her love and support have humbled and sustained me and I am forever grateful. Finally, I wouldn’t and couldn’t have done this without everything my parents have given me. This dissertation, such as it is, is dedicated to them. vi Table of Contents Abstract ii Acknowledgements iv Table of Contents vii Introduction 1 Early German Cinema 14 Chapter Breakdown 19 1. Schattenkaiser: The Rise and Fall of the Wilhelmine Cinema, 1895-1918 24 Media and Monarchy in Imperial Germany 28 Kaiser Wilhelm II, A Friend of the Cinema 37 1913: A Celebration of Celebrity and Authority 53 The First World War: From Wilhelm II to Hindenburg 60 Conclusion 69 2. Cinema of Imperial Attractions: Film, Political Culture and Nationalist Associations before 1910 71 Manipulation and Attraction 75 Politics and Censorship 83 Traveling Cinema and Naval Spectacle 92 Colonial Politics and the Exotic Empire 103 Conclusion 115 3. Germanizing the Movies: The Emergence of a Nationalist Cinema and a National Audience, 1910-1914 118 German National Cinema’s Special Path 122 The Nationalization of the Audience 129 German Films 149 Conclusion 163 4. “The Right Films for the Right Time”: The Mobilization of the German Cinema, 1914- 1915 165 Enthusiasm and Mobilization 168 The Right Films for the Right Time 173 German Films in German Theatres 185 Reporting the War: Actualities and the Newsreel 193 Popular Cinema, Popular Sentiment 205 Conclusion 212 vii 5. The Triumph of Film? German Cinema, Propaganda, and Total War, 1916-1918 214 Total War and National Morale 216 Private Patriotic Propaganda: The Deutsche Lichtbild Gesellschaft 224 Official Propaganda: Bild- und Filmamt and Universum Film 233 War Loan Films 244 The German Cinema and the Spirit of 1918 256 Conclusion 260 Conclusion 262 List of Archives 268 Works Cited 269 viii Introduction Germany is a war made, -a war making state. She believes the sword the only satisfactory arbiter of international questions, - Blood the only food for a growing state. With Germany in the ascendancy, war will remain the world’s chief business. The longer she is permitted to retain her “might” idea, the more ruthless her methods, the wider her conquests. The next war will come right on to our own shores unless – we crush the War idea – we crush Germany.1 According to the American Committee on Public Information, Germans were violent, blood-thirsty and bent on world conquest—the national embodiment of the war idea. The verse above appeared on a poster produced by the CPI, the America wartime propaganda office, after the United States’ entry into the war in 1917 and it was accompanied by a cartoon of a brutish giant of a German soldier stomping down the New York skyline. In its message of German eternal belligerence and in its illustration of a monstrous German foe, the poster was consistent with much of the war propaganda produced by Germany’s enemies between 1914 and 1918.
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