We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Hitler's Machtergreifung, or seizure of power, on January 30, 1933, marked the end of the Weimar Republic and the beginning of the Third Reich, and German film scholarship has generally accepted this date as the break between Weimar and Nazi-era film as well. This collection of essays interrogates the continuities and discontinuities in German cinema before and after January 1933 and theirrelationship to the various crises of the years 1928 to 1936 in seven areas: politics, the economy, concepts of race and ethnicity, the making of cinema stars, genre cinema, film technologies and aesthetics, and German-international film relations. Focusing both on canonical and lesser-known works, the essays analyze a representative sample of films and genres from the period. This book will be ofinterest to scholars and students of Weimar and Third Reich cinema and of the sociopolitical, economic, racial, artistic, and technological spheres in both late Weimar and the early Third Reich, as well as to film scholars in general.
Contributors: Paul Flaig, Margrit Frölich, Barbara Hales, Anjeana Hans, Bastian Heinsohn, Brook Henkel, Kevin B. Johnson, Owen Lyons, Richard W. McCormick, Kalani Michell, Mihaela Petrescu, Christian Rogowski, Valerie Weinstein, Wilfried Wilms.
Barbara Hales is Associate Professor of History at the University of Houston-Clear Lake. MihaelaPetrescu is Visiting Lecturer at the University of Pittsburgh. Valerie Weinstein is Assistant Professor of Women's, Gender, and Sexuality Studies and German Studies at the University of Cincinnati.
The COVID-19 pandemic and mitigation measures are likely to have a marked effect on mental health. It is important to use longitudinal data to improve inferences.
Aims
To quantify the prevalence of depression, anxiety and mental well-being before and during the COVID-19 pandemic. Also, to identify groups at risk of depression and/or anxiety during the pandemic.
Method
Data were from the Avon Longitudinal Study of Parents and Children (ALSPAC) index generation (n = 2850, mean age 28 years) and parent generation (n = 3720, mean age 59 years), and Generation Scotland (n = 4233, mean age 59 years). Depression was measured with the Short Mood and Feelings Questionnaire in ALSPAC and the Patient Health Questionnaire-9 in Generation Scotland. Anxiety and mental well-being were measured with the Generalised Anxiety Disorder Assessment-7 and the Short Warwick Edinburgh Mental Wellbeing Scale.
Results
Depression during the pandemic was similar to pre-pandemic levels in the ALSPAC index generation, but those experiencing anxiety had almost doubled, at 24% (95% CI 23–26%) compared with a pre-pandemic level of 13% (95% CI 12–14%). In both studies, anxiety and depression during the pandemic was greater in younger members, women, those with pre-existing mental/physical health conditions and individuals in socioeconomic adversity, even when controlling for pre-pandemic anxiety and depression.
Conclusions
These results provide evidence for increased anxiety in young people that is coincident with the pandemic. Specific groups are at elevated risk of depression and anxiety during the COVID-19 pandemic. This is important for planning current mental health provisions and for long-term impact beyond this pandemic.
Geld ist weder ein Zahlungsmittel noch ein Tauschmittel, auch ist es keine Fiktion, vor allem aber ist es kein Geld. Für Geld kann man Waren kaufen, weil es Geld ist, und es ist Geld, weil man dafür Waren kaufen kann. Doch ist diese Theorie inzwischen fallen gelassen worden. Woher das Geld kommt, ist unbekannt. Es ist eben da bzw. nicht da—meist nicht da.
—Kaspar Hauser [Kurt Tucholsky], “Kurzer Abriß der Nationalökonomie,” 1931
[Money is neither a means of payment nor a means of exchange; neither is it a fiction, but above all it is not money. With money one can buy goods because it is money and it is money because one can buy goods with it. But in the meantime this theory has been dropped. It's unknown where money comes from. It is just there or rather not there, mostly not there.]
RELEASED IN DECEMBER 1931, Die Koffer des Herrn O.F. (The Trunks of Mr. O.F.) premiered at the Mozartsaal in Berlin to great interest within both film press and industry. Considering those involved in its production, this is not surprising. The film's script was co-written by the noted leftist playwright and filmmaker Léo Lania. Its songs featured lyrics by Erich Kästner and music by the increasingly prominent composer Karol Rathaus. The cast included the veteran Alfred Abel as well as rising stars Peter Lorre and Hedy Kiesler, soon to be known in Hollywood as Hedy Lamarr. It was, however, the film's director and co-writer, Alexis Granowsky, who provoked the majority of interest. Granowsky had come to Berlin from the Soviet Union, where he had had great success with his Jewish Academic Theatre of Moscow, working first for Max Reinhardt before turning to film for Das Lied vom Leben (The Song of Life, 1931), a sensational combination of montage technique, buoyant musical sequences portraying the rich and poor, and a frank realism that would provoke censorship. In his review of Koffer, Fritz Olimsky would praise the director especially: “Alexis Granowsky greift aus der Problemwelt unserer Zeit das zurzeit allbewegende Thema ‘Weltkrise’ heraus und behandelt es in einer wunderlich persönlichen Art” (Alexis Granowsky takes from our contemporary world of problems the recent, ever-present theme of “world crisis” and treats it in a wonderfully personal manner).
