ABSTRACT

This article comparatively assesses the representation of workers’ leisure in Berlin in three significant examples of experimental German cinema from the late Weimar Republic: Mutter Krausens Fahrt ins Glück (Mother Krause’s Journey to Happiness, dir. Piel Jutzi, 1929), Menschen am Sonntag (People on Sunday, dir. Robert Siodmak, Edgar G. Ulmer, 1930), and Kuhle Wampe oder Wem gehört die Welt? (Kuhle Wampe or Who Owns the World?, dir. Slatan Dudow, 1932). There are distinct thematic and formal parallels between this set of nearly contemporaneous, generically hybrid films, and the article assesses the inter-related functions of time and space in the films’ depiction of leisure experiences in Berlin. Focal points include the depiction of urban space, especially the tenement block and the ‘semi-public’ space of the courtyard; the Freibad or lakeside bathing resort; the worker sports movement; and the comparative relevance of the work of the Berlin artist Heinrich Zille. The article approaches the films in the historical context of the workers’ movement and working-class culture, and is further informed by insights into urban space developed within the sociological discipline of leisure studies.

摘要

本文比较评估了柏林工人休闲在魏玛共和国晚期实验性德国电影的三个重要例子中的表现：Mutter Krausens Fahrt ins Glück（克劳斯母亲的幸福之旅，导演 Piel Jutzi，1929），Menschen am Sonntag（星期天的人们，导演罗伯特·西奥德马克，埃德加·G·乌尔默，1930 年）和Kuhle Wampe oder Wem gehört die Welt? （Kuhle Wampe 或谁拥有世界？, 目录。斯拉坦·杜多，1932）。这组几乎同时代的、一般混合的电影之间存在明显的主题和形式上的相似之处，本文评估了电影对柏林休闲体验的描述中时间和空间的相互关联的功能。重点包括城市空间的描绘，尤其是公寓楼和庭院的“半公共”空间；弗雷巴德或湖滨浴场；工人体育运动；以及柏林艺术家 Heinrich Zille 作品的比较相关性。本文在工人运动和工人阶级文化的历史背景下处理这些电影，并通过对休闲研究社会学学科发展的城市空间的见解进一步了解。