Both Fritz Langs Metropolis (1927) and Josef von Sternbergs Der Blaue Engel (1930) appeared during the height of the Golden Age of the Weimar Republic. This Golden Age occurred between 1923 and 1930 and was a crossroad of many economic events. Whereas Germany had been in dire economic whirl pursual their defeat in World War I, in 1924 the Dawes political platform was introduced by the US as a means to deliver and reduce Germanys reparation payments specified by the treaty of Versailles (1918). A currency reform in 1923 also availed in the stabilization of the economy and Germanys industrial sector began to boom. Between 1924 and 1929 industrial yield rose by approximately 40%, requital were increase 50% and the number of strikes dropped by an incredible vitamin D%. This colossal change in the German economic emplacement brought with it a change in ideology. Encouraged by the aid of the US and the American ideals of Fordism and Taylorism, German ideology began to melt to wards capitalistic consumerism. An starry-eyed perception of the United States arose - it was viewed as a democratic golf club in which the possibility of success was universal. It was from this capitalist, industrialist ideology that contemporaneity arose.
Germany had begun to move away from its traditionalist ideas, rooted in the ideas of the German Romantics and what was cheat as der deutsche Sonderweg and towards Zivilisation and the French republican values of liberté, egalité, fraternité. With the substructure of the set-back moving images in 1895, flick had become a view medium as early as 1914. In 1917 UFA (Universum withdraw AG) was cre! ated, a coalition of Germanys largest film companies and the military, which poured large amounts of money into this pronto booming industry. After the founding of the Weimar Republic, the role of cinema began to change. If you extremity to get a full essay, order it on our website:
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