{"title":"Afterlives of Anders als die Andern and of Weimar","authors":"Sara Friedman","doi":"10.1017/s0008938923001255","DOIUrl":null,"url":null,"abstract":"\n This article uses reconstructions of the 1919 German LGBTQ+ rights film Anders als die Andern (Different from the Others) to consider the meaning of the Weimar Republic. It surveys Weimar's historiography, memorialization efforts, public commemorations, museums, and film reconstruction, drawing connections between these fields. The film as an incomplete document becomes a metaphor for incomplete histories. As such, it offers suggestions for engaging with fragmentary pasts.","PeriodicalId":0,"journal":{"name":"","volume":" 15","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1017/s0008938923001255","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
This article uses reconstructions of the 1919 German LGBTQ+ rights film Anders als die Andern (Different from the Others) to consider the meaning of the Weimar Republic. It surveys Weimar's historiography, memorialization efforts, public commemorations, museums, and film reconstruction, drawing connections between these fields. The film as an incomplete document becomes a metaphor for incomplete histories. As such, it offers suggestions for engaging with fragmentary pasts.
本文通过对 1919 年德国 LGBTQ+ 权利电影《与众不同》（Anders als die Andern）的重构来思考魏玛共和国的意义。文章考察了魏玛的历史学、纪念工作、公共纪念活动、博物馆和电影重建，并总结了这些领域之间的联系。电影作为不完整的文献，成为不完整历史的隐喻。因此，它为如何处理支离破碎的过去提供了建议。
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