Cultural Experimentation in Weimar

The Arts in Weimar Germany

A combination of new technology and changing social attitudes led to a great expansion in popular culture. Traditional approaches to the arts were subverted . by new ideas. Artists sought to express feelings rather than be realistic.

Art in Weimar Germany

Expressionism:
- This focused on emotions and feelings, sometimes exploring the darker side of the human psyche. Ernst Kirchner is a prime example.
The New Objectivity Movement:
- This expressed irreverence and this respect for authority with brutal, critical depictions of life in Weimar Germany. George Gross and Otto Dix are examples of artists from the new objectivity movement.
Dadaism:
- This sought to provoke, send, or cause outrage. Hannah Höch is an example of a Dadaist.

Literature in Weimar Germany

Amongst writers there was a trend to write work with a social, political purpose.
Alfred Döblin wrote about working-class life. Erich Maria Remarque’s anti-war novel 'All Quiet On The Western Front' challenged the ‘stab in the back’ myth.
There was a massive increase in publishing, especially paperbacks, which were cheaper and more accessible.
Famous Weimar Republic novelists include Hermann Hesse and Thomas Mann.

Music in Weimar Germany

Arnold Schoenberg developed atonal music, which did not conform to audience expectations.
Jazz was very popular, reaching a wide audience via radio. American stars came to Berlin but there were German bandleaders, e.g. Stefan Weintraub.
Radio broadcasts began in 1923 and were state controlled. By 1930 there were four million sets.
A new form of opera developed. Zeitopera (opera of the time) reflected modern issues from a radical, socialist perspective.

Theatre in Weimar Germany

A new type of theatre developed. Zeittheater (theatre of the time) depicted realistic, everyday situations to criticise Bourgeois society.
Theatre tried to involve the audience directly. Street theatre in particular brought political drama to a mass audience. Theatre was the most political of all the arts.

Film in Weimar Germany

Cinema embodied new technology, mass entertainment, the democratisation of the arts and, in the mid 20s especially, movements such as Expressionism.
German silent films produced some classics such Fritz Lang’s Metropolis.
Marlene Dietrich, star of Lang’s The Blue Angel (1930) symbolised new freedoms in Weimar Germany, especially given her sexually ambiguous appearance.

Architecture and Design in Weimar Germany

Architecture was very innovative. Familiar materials were used in new ways and concrete enabled to new shapes and forms to be used in buildings.
Functionalism was important. Buildings and furniture had clean lines and simple forms without excessive decoration.
The Bauhaus style of architecture and the design was very influential. Designs were bold and utilitarian.

Contemporary reactions to Weimar Culture

Weimar culture was more liberal and influenced by Western countries such as America. Whilst many embraced this, there was also a strong conservative reaction against it.

Democratisation of culture

High arts, such as literature, Opera and theatre were greatly democratised.
Film and music were so more readily accessible due to technology.

Conservative response to Weimar Culture

Conservative Germans saw cultural changes reinforcing their fears of a world in decay. They were concerned by ‘filth and trash’ damaging the young especially.
The Zentrum and Nationalist parties spoke of morality, family values and traditional German culture as being under threat.
Many Jewish artists and performers were involved. The extreme right saw this as further proof of the damage being done to Germany by the Weimar Republic.

Censorship in Weimar Germany

In 1926 a Law To Protect You From Pulp Fiction And Pornography was passed. State governments made lists of books not to be sold to under 18’s.
The 1926 Law went against article 118 of the Weimar Constitution, which said there would be no censorship. This caused controversy.
Thomas Mann said:
- ‘[Protecting our young] is nothing more than a pretext. The law’s drafters want to use the law…against freedom, against intellect itself.’

1Political & Governmental Change, 1918-1989

1.1Creation & Collapse of Weimar, 1918-1932

1.1.1Creation of a Republic

1.1.2Strengths & Weaknesses of Weimar Constitution

1.1.3Overcoming Challenges to the Constitution

1.1.4The Great Depression

1.1.5The Collapse of Democracy

1.1.6The Collapse of Democracy 2

1.1.7Hitler Becomes Chancellor

1.2Nazi Dictatorship, 1933-1945

1.2.1Establishing a Dictatorship

1.2.2Consolidating Power

1.2.3Nature of Government

1.2.4Government in Wartime

1.2.5Top Grade AO2/3 - Political & Governmental Change

1.3Return to Democratic Government, 1945-1989

1.3.1Creation of the FRG, 1945-1949

1.3.2Consolidation Under Adenauer

1.3.3Consolidation Under Erhard

1.3.4Maintaining Stability Under Brandt

1.3.5Maintaining Stability Under Schmidt

1.3.6Maintaining Stability Under Kohl

1.3.7Top Grade AO2/3 - Return to Democratic Government

2Opposition, Control & Consent 1918-1989

2.1Opposition to Government, 1918-1989

2.1.1Impact of Versailles

2.1.2Political Extremism & Crises, 1918-1932

2.1.3Opposition & Dissent in Nazi Germany, 1933-1945

2.1.4Political Dissent from the Left, 1949-1989

2.1.5Political Dissent from the Right, 1949-1989

2.1.6Top Grade AO2/3 - Opposition to Government 1918-89

2.2Controlling the People, 1918-1989

2.2.1Attempts to Control Extremism

2.2.2Repression, 1933-1945

2.2.3Censorship & Propaganda, 1933-1945

2.2.4De-Nazification Policies of Western Allies, 1945

2.2.5Constitutional & Legal Response to Extremism, 1949

2.3Popular Support, 1918-1989

2.3.1The Nature of Support for the Weimar Government

2.3.2Support for the Nazi Regime

2.3.3The Nature of Support for Democracy, 1945-1989

2.3.4Top Grade AO2/3 - Controlling the People

3Economic Developments & Policies, 1918-1989

3.1Reacting to Economic Challenges, 1918-1932

3.1.1Economic Crises & Government Response, 1918-1923

3.1.2Economic Loans, 1924-1928

3.1.3Policies for Recovery, 1924-1929

3.1.4The Great Depression

3.1.5Change in Living Standards

3.1.6Top Grade AO2/3 - Reacting to Economic Challenges

3.2Controlling the Economy, 1933-1945

3.2.1Attempting Economic Recovery

3.2.2Creating a Command Economy

3.2.3Change in Living Standards

3.2.4Impact of War

3.2.5Impact of War 2

3.2.6Top Grade AO2/3 - Controlling the Economy

3.3Creating the Social Market Economy, 1945-1989

3.3.1Economic Recovery, 1945-1955

3.3.2The Economic Miracle, 1955-1966

3.3.3Surviving the Recession, 1960-1969

3.3.4The Oil Crisis

3.3.5Integration into the European Economy

3.3.6Change in Living Standards

3.3.7Top Grade AO2/3 - Creating Social Market Economy

4Aspects of Life, 1918-1989

4.1Attitudes Towards Women, 1918-1989

4.1.1Role & Status of Women in the Weimar Republic

4.1.2Impact of Kinder, Küche, Kirche

4.1.3Impact of WW2 on Women

4.1.4Role & Status of Women in the FRG

4.1.5Top Grade AO2/3 - Attitudes Towards Women

4.2Education & Cultural Developments, 1918-1989

4.2.1Education in Weimar

4.2.2Cultural Experimentation in Weimar

4.2.3Education Under the Nazis

4.2.4Nazi Culture

4.2.5Education in the FRG

4.2.6Generational Conflict

4.2.7Top Grade AO2/3 - Education & Cultural Development

4.3Position of Ethnic Minorities, 19189-1989

4.3.1Ethnic Minorities in the Weimar Republic

4.3.2Nazi Racial Policies, 1933-1939

4.3.3Nazi Racial Policies During the War

4.3.4Ethnic Minorities in the FRG

4.3.5Top Grade AO2/3 - Position of Ethnic Minorities

5Historical Interpretations

5.1Influence of German History

5.1.1Influence of German History

5.2Hitler & Foreign Policy

5.2.1Hitler & Foreign Policy

5.3Contribution of Other Nations to WW2

5.3.1Weak Nations

5.3.2Appeasement

5.3.3The Rise of Fascism

5.4Reasons for Invading Poland

5.4.1Reasons for Invading Poland

5.4.2Top Grade AO2/3 - Historical Interpretation

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