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64 Introduction Modernism presented a break with tradition in Europe beginning in the 1890s. No longer was space dependent on its corporeal form; space was visually transcribed through its subjective experience. The study of the visual senses proved to be a greatly infl uential addition to the fi eld of the history of art and architecture in Germany during the time. “Paintings, sculptures, and buildings were evaluated according to psychological and physiological criteria”.1 Such images were used by Walter Benjamin to describe the value of the camera in discovering the underlying elements of our urban environment through the close examination of familiar objects.2 Parallel to this theory was Siegfried Kracauer’s contemporary approach to cinematic imaging, which he praised for its technological advancement over photography.3 Whilst architecture was struggling to make sense of German aesthetic theory, the new modernist discipline of cinema was already surging ahead, creating spatial depth and movement within a single two-dimensional frame. Cultural life in Weimar Germany has attracted great interest, and several scholarly names have focused on the visual manifestations of modernity, the rise of the avant-garde and the left-wing revolutionary art that appeared during the early 1920s, not just in Germany but other European nations as well. What has not been explored in detail, which this paper attempts to fi ll in, is the relation between the cultural history of Weimar Germany and its social, political and economic phases. It is common knowledge that German society underwent dramatic social transformation following the economic crisis between 1929 and 1933, but little is

City Symphonies: The Urban Culture of Expressionist Cinema in 1920s Berlin