Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period. I argue that many pioneering and influential films of the Weimar Republic registered and responded to contemporaneous metahistorical debates, offering aesthetic answers to ontological and epistemological questions of the philosophy of history. In my analysis, the films’ extraordinary innovations in aesthetic and narrative form can be associated not only with technological advances and sociopolitical ruptures, but also with concurrent efforts to theorize history in an age of ‘absolute relativity.’ Combining archival research, theory, and formal analysis, my work thus contributes to scholarship on German cinema, placing films of the Weimar era in constellation with developments in Central European intellectual history. 1 In loving memory of Alfred Baer (1917–2012) i Contents Acknowledgments iii Preface: Historical Turns v 1. Relativist Perspectivism 1 2. Metaphysics of Finitude 18 3. Pure Presence 31 4. Natural History 47 References 60 Bibliography 86 ii Acknowledgments I would like to thank my dissertation chair, Tony Kaes, for sharing his passion for Weimar cinema and for extending countless opportunities along the way. Martin Jay has initiated me into the realm of modern European intellectual history, providing a road map for my own inquiries into the field; his responses to my questions and chapter drafts have been extraordinarily illuminating, and I remain awed by him as a brilliant and generous scholar. I also wish to thank Linda Williams for the encouragement and support she has provided at crucial junctures. During my years of coursework at UC Berkeley, many other professors also shaped my research interests and approaches, including Deena Aranoff, Judith Butler, John Efron, Deniz Göktürk, Hans Sluga, and Kristen Whissel. Over the past three years, I have had the great fortune to write my entire dissertation in Berlin, and I want to express my sincere gratitude to those who welcomed me into their intellectual environment in this endlessly rich and fascinating city. Gertrud Koch included me in her doctoral colloquium in the Seminar für Filmwissenschaft at the Freie Universität Berlin, where I received rigorous and incisive feedback; she has provided an inspiring model for how to examine film in relation to theoretical and philosophical concerns. In 2012–2013, I also greatly benefited from discussions in the Humboldt-Universität zu Berlin’s PhD-Net “Das Wissen der Literatur,” led that year by Karin Krauthausen, Burkhardt Wolf, and Ethel Matala de Mazza, the latter of whom also invited me to participate in her own invigorating research colloquium in Spring 2013. My research would not have been possible without the support of various agencies and institutions. I am enormously grateful to the Leo Baeck Institute/Studienstiftung des deutschen Volkes, the German Academic Exchange Service (DAAD), and UC Berkeley’s Graduate Division for offering yearlong scholarships, and I am also indebted to the Universität zu Köln for a six-month fellowship as I completed my doctoral work. Additional funding came from the Fritz Thyssen Foundation, Phi Beta Kappa, and UC Berkeley’s Institute of European Studies and Center for German and European Studies. While in Central Europe, I conducted research at the Bundesarchiv-Filmarchiv, Deutsche Kinemathek, Filmarchiv Austria, Österreichisches Filmmuseum, and Staatsbibliothek zu Berlin. I wish to thank Cordula Döhrer, Regina Hoffmann, and Michael Skowronski of the Kinemathek as well as Oliver Hanley of the Filmmuseum for their extra help. Sections of this dissertation were presented at various conferences, film festivals, and symposia, and I benefited greatly from the stimulating questions and comments of those in attendance. Thank you to event organizers affiliated with the Berkeley- Tübingen-Wien-Harvard (BTWH) Forschungsnetzwerk, European Network for Cinema and Media Studies (NECS), Goethe-Universität Frankfurt, Leo Baeck Institute London, Society for Cinema and Media Studies (SCMS), Stummfilmfestival Karlsruhe, Tel Aviv University, and the Universität Bremen. Josef Jünger also generously gave me the chance to curate a film series based on my dissertation at his Karlsruhe film festival in 2015. Many close friends have been wonderful presences in my life over the past several years, and I feel lucky to count them as regular interlocutors: Maggie Hennefeld, Doron Galili, Kristina Köhler, Sam England, Laura Horak, Katharina Loew, and Sarah Goodrum. Philipp Stiasny ushered me into Berlin’s network of film researchers and enthusiasts, and I have also greatly enjoyed and benefited from intellectual exchanges iii with Mason Allred, Oliver Botar, Jan-Eike Dunkhase, Christoph Kasten, Geoff Lehman, Albert Meirer, Eszter Polonyi, Chris Tedjasukmana, and Michael Weinman. One of the great joys of my time in academia thus far has been joining a community of scholars and film lovers, many of whom have offered film and reading recommendations for my doctoral research as well as various forms of professional support: Priyanka Basu, Tim Bergfelder, Erica Carter, Michael Cowan, John Davidson, Thomas Elsaesser, Mila Ganeva, Christina Gerhardt, Lisa Gotto, Clemens Gruber, Tom Gunning, Boaz Hagin, Eunice Martins, Barbara Mennel, Johannes von Moltke, Dan Morgan, Sabrina Rahman, Naomi Vaughan, Kerry Wallach, Valerie Weinstein, Joel Westerdale, Federico Windhausen, Nepomuk Zettl, and Yvonne Zimmermann. At Berkeley, it has been an enormous pleasure getting to know Angela Botelho, Alex Bush, Kris Fallon, Shaina Hammerman, Jenna Ingalls, Annika Orich, Eli Rosenblatt, and Sasha Rossman. In Central Europe, many friends have kept me in high spirits, especially through music and conversation: Simon Böckle, Irit Dekel, Tobias Faßhauer, Susanne Fontaine, Lilian Gergely, Kerstin Hartmann, Thomas Hilder, Danielle Keiser, Henryk Paciorek, Cordula Schönherr, Rosanna Wolfger, and Daniel Wolpert. Finally, I thank my grandmother, Eva Baer, for her encouragement and for sharing her own memories of the Weimar era, and my parents, Alan and Maria Baer, for their loving support and for helping me keep things in perspective. They also instilled in me the work ethic that provided the conditions of possibility for this undertaking. iv Preface Historical Turns The distinctive posture of the spirit in relation to the contents of the world is characterized by the fact that there is some sense in which every absolute is conceived relatively. –Georg Simmel1 Artworks become relative because they must assert themselves as absolute. –Theodor W. Adorno2 The advent of New Film History a quarter-century ago was preceded by a far earlier “historical turn.” In contradistinction to natural law theory, with its appeal to the atemporal and universal aspects of human nature, nineteenth-century historicism had asserted the historicity and uniqueness of all sociocultural phenomena and values. Extending the legacy of Leopold von Ranke and the German Historical School, scholars in the field of Cinema and Media Studies have promoted a greater historical consciousness over the past three decades. Whereas apparatus theory of the 1970s presumed a basic uniformity and historical continuity in cinematic style and spectatorship,3 more recent work has emphasized the historicity of moving images, from their conditions of production to their contexts of reception, and has examined large-scale transformations in technology and modes of sensory perception and experience. Of course, an analogy between the “historical turn” in nineteenth-century German scholarship and that of Film Studies in the 1980s is an imperfect one. The very term “New Film History,” as used by Thomas Elsaesser in a 1986 article,4 indeed recalled not only the rising