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Lotte Eisner: a reappraisal
..
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..
..
..
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Introduction
..
..
...
..
..
.. ERICA CARTER
..
..
..
..
..
..
..
..
..
..
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..
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.. A curious paradox haunts the work of the exile Jewish writer, archivist
..
..
.. and curator Lotte H. Eisner. Fabled for her writings on Weimar cinema as
..
..
...
well as auteur studies of Fritz Lang and F. W. Murnau, Eisner also enjoys
..
..
..
legendary status as a doyenne of the French and German New Waves
..
.. during her three decades as Chief Curator at the Cinémathèque
..
1 Lotte H. Eisner, The Haunted
..
.. française.1 But she is at the same time a strangely elusive presence, even
..
Screen. Expressionism in the .. amongst critics who share her view of ‘visceral [...] atmospheric’ mise-
..
German Cinema and the Influence ..
.. en-scene as Weimar cinema’s signal contribution to film art. Patrice Petro
of Max Reinhardt, trans. Roger ..
..
Greaves (Berkeley, CA: University ..
.. deems Eisner ‘almost certainly right’ for her incisive delineation, in her
..
of California Press, 1973); Fritz .. seminal post-war study The Haunted Screen, of Weimar cinema’s
..
Lang (1976) (Boston, MA: da Capo ..
Press, 1986); F. W. Murnau
..
...
‘distinctive moods’.2 Thomas Elsaesser similarly counts himself amongst
..
(Berkeley, CA: University of ..
..
Eisner’s ‘followers’, and draws at length on her writings on lighting, set
California Press, 1973). ..
.. design, camera, editing and directorial practice for his account of Weimar
2 Patrice Petro, Aftershocks of the ..
New: Feminism and Film History
..
.. cinema as ‘Germany’s historical imaginary’.3 Elsaesser recognizes
..
.. Eisner’s incisive grasp of cinema as a medium with the capacity to shape
(New Brunswick, NJ: Rutgers ..
..
University Press, 2002), pp. 98–99. .. both fictional and lived worlds, and in so doing to help generate new
..
3 Thomas Elsaesser, Weimar ..
Cinema and After. Germany’s
..
.. social imaginaries. Yet Eisner remains for him a writer engaged in an
..
Historical Imaginary (Abingdon: ..
.. ‘essentially stylistic history’ of German aesthetic practice from
..
Taylor and Francis, 2013). ..
...
Romanticism through Expressionism to interwar film.4 In histories of
4 Ibid., p. 5. ..
..
..
Weimar criticism, Eisner’s significance is similarly underplayed, despite
..
..
..
her extensive contributions during her time as journalist and editor on the
..
.. daily trade paper Film-Kurier to the period’s lively cultural discourse on
..
.. the new film medium. Archive histories, meanwhile, hint at but do not
..
..
.. extensively investigate Eisner’s formative role in building, documenting
..
..
.. and presenting the vast archival collections of the Cinémathèque

375 Screen 62:3 Autumn 2021

© The Author(s) 2021. Published by Oxford University Press on behalf of Screen.
This is an Open Access article distributed under the terms of the Creative Commons Attribution License (https://creativecommons.org/
licenses/by/4.0/), which permits unrestricted reuse, distribution, and reproduction in any medium, provided the original work is properly
cited.
doi:10.1093/screen/hjab035
 ...
5 A signal exception is Laurent ..
..
française;5 conversely, critics have been quick to disparage her views on
Mannoni, Histoire de la ..
..
..
the apparently ‘innate’ German sensibility or ‘soul’ of Weimar cineastes
Cinémathèque française (Paris: ..
Gallimard, 2006). .. – terms dismissed as critically obsolete, even while Eisner’s status as a
..
6 See, for instance, her observations
..
.. venerated film-historical grande dame seems secure.6
..
in The Haunted Screen on the .. Our dossier seeks to adjust this often impoverished account of Eisner’s
..
exaltation that is ‘innate’ in ..
.. work. Contributors explore continuities as well as discontinuities and
German national culture’ (p. 140). ..
..
dossier

..
.. productive anachronisms in Eisner’s critical and archival practice; they
..
..
.. pursue strands from intellectual histories that shed new light on her
...
..
..
contribution to film aesthetics; and they present insights from the archive
..
..
..
that restore living contours to the figure once hypostasized by filmmaker

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7 Werner Herzog, quoted in Richard
..
.. Werner Herzog as ‘the last mammoth living among us’.7 Originating in
..
Eder, ‘A new visionary in German ..
.. an October 2018 symposium staged at King’s College London and the
films’, The New York Times, 10 ..
.. Birkbeck Institute for the Moving Image, the dossier makes five related
July 1977, p. 176. ..
..
.. arguments for a reframing of Eisner’s work within contemporary moving
..
..
..
.. image aesthetics and media historiography.
..
..
.. Our first claim relates to Eisner’s film aesthetics. It was for many years
...
..
..
the fate of Weimar film scholars to find their work indiscriminately
..
..
..
bracketed under the heading of ‘German expressionism’. Eisner’s writing
..
..
..
represents an early counter-model – and one that demands renewed
..
.. attention in a field now richly populated by revisionist histories of
..
.. Weimar cinema as a complex constellation of variegated star, genre and
..
..
.. auteur practices, competing styles and industrial models, disputatious
..
..
..
.. film-critical discourses, and exile, émigré and cosmopolitan mobilities. In
..
..
.. the newly translated 1984 Cahiers du cinéma article on set design that
..
..
...
accompanies this dossier, Eisner prefigures this recent scholarship when
..
..
..
she cautions against tracing ‘to some assumed expressionist penchant’
..
.. Weimar cineastes’ ‘shap[ing of] the world around an interior vision.’
..
..
.. While for Eisner, Fritz Lang’s characteristic play with light and shadow
..
.. may evoke expressionist style, his Die Nibelungen (1924) creates
..
..
.. through set design and architecturally structured performance a
..
..
..
.. monumental geometry that is, writes Eisner, the very ‘opposite of
..
..
.. expressionism’. Lang’s ‘judicious [...] mixing [of] different doses of light
..
..
...
and shadow’ moves indeed well beyond stylistic innovation, becoming
..
..
..
from her perspective an affectively generative practice that uses mise-en-
..
..
..
scene, camera and performance ‘to create the necessary Stimmung
..
.. (atmosphere)’.
..
.. Eisner’s identification in Lang of a neo-classical geometry overlaid
..
..
.. with Expressionist elements is one instance of what Elsaesser calls the
..
..
.. ‘fervent art-historical exegesis’ that she practises throughout her accounts
..
..
8 Elsaesser, Weimar Cinema, p. 31. ..
.. of Weimar film.8 Michael Wedel and Janet Bergstrom join Elsaesser in
..
..
...
emphasizing in this dossier the significance of Eisner’s art-historical
..
..
..
background for an understanding of her work. As Wedel demonstrates,
..
..
..
the acuity of Eisner’s aesthetic vision derives from an art-historical
..
.. attunement to her object that alerts her to aesthetic qualities beyond the
..
.. formal elements of film style. Centring his discussion on questions of
..
..
.. mood and atmosphere, Wedel shows how Eisner’s grasp of film’s
..
..
.. capacity to shape fictional worlds imbued with viscerally experienced

376 Screen 62:3 Autumn 2021
Erica Carter
Lotte Eisner: a reappraisal. Introduction
 ...
..
..
atmosphere derives from earlier encounters during her art history training
..
..
..
with German aesthetic theory. Wedel observes in Eisner in this context a
..
.. recourse to her art historian mentor Heinrich Wölfflin, whose influential
..
..
.. taxonomy of style was first elaborated in his 1915 study
..
.. Kunstgeschichtliche Begriffe; das Problem der Stilentwicklung in der
..
..
9 Heinrich Wölfflin, ..
.. neueren Kunst (Fundamental Concepts of Art History).9 As Wedel
..

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Kunstgeschichtliche Begriffe; das ..
.. affirms, Wölfflin’s encounters with contemporary aesthetic theory,
Problem der Stilentwicklung in der ..
neueren Kunst (Munich: F.
..
.. including the empathy theories of Johannes Volkelt and Robert Vischer,
...
Bruckmann, 2015). ..
..
led him to root this stylistic history in conceptions of artistic expression
10 Heinrich Wölfflin, Prolegomena
..
..
..
as the ‘physical appearance of a mental process’.10
zu einer Psychologie der ..
.. In her writings on Weimar film, Eisner developed this embodied
Architektur (Munich: Wolf and ..
..
Sohn, 1886); translation by .. approach to image analysis, extending Wölfflin’s idea of Stimmung in
..
Michael Wedel. See also Helen .. painting to film as a time-based medium that mobilizes the image, using
..
..
Bridge, ‘Empathy theory and .. a dynamic interplay between camera, mobile bodies and objects, shadow
..
Heinrich Wölfflin: a ..
reconsideration’, Journal of
..
.. and light to infuse ‘life into surfaces’.11 Although Eisner was neither a
..
European Studies, vol. 41, no. 1 ..
.. philosopher nor a film theorist – as Janet Bergstrom indicates in this
(2011), pp. 3–22. ...
..
..
dossier, her writing in her Murnau book in particular eschews the
11 Eisner, The Haunted Screen, ..
p. 273. ..
..
abstraction of universal pronouncements – in her aesthetic histories she
..
..
..
nonetheless prefigures writings by 21st-century film philosophers whose
..
.. concern is with film’s atmospheric enfolding of its audiences in lived
..
.. fictional worlds. Echoing Wedel, Robert Sinnerbrink thus invokes ‘the
..
..
.. great German film critic and historian Lotte Eisner’ as one source for a
..
..
..
.. 21st-century aesthetics that understands mood – Stimmung – as ‘essential
..
..
.. to our aesthetic and emotional engagement with film’ because it is ‘a way
..
12 Robert Sinnerbrink, ‘Stimmung: ..
...
of revealing or opening up a cinematic world’.12 In her account of a term
exploring the aesthetics of ..
..
..
also central to Eisner’s aesthetics – Umwelt, or surrounding world – Inga
mood’, Screen, vol. 53, no. 2 ..
(2012), p. 149. .. Pollmann pays similar tribute to Eisner alongside Weimar
..
..
.. contemporaries including Willy Haas and Béla Balázs. For Pollmann, as
..
.. previously for Eisner, Umwelt is the product of a process of cinematic
..
..
.. world-making in which technologically produced environments define
..
..
..
.. the horizon of spectatorial perceptions, but are also reshaped by
..
..
.. spectators who mobilize their ‘perceptual capacities’ as ‘living beings’ to
..
13 Inga Pollmann, Cinematic ..
...
integrate and ‘innervate’ cinematic worlds.13
Vitalism: Film Theory and the ..
..
..
The first call this dossier makes in this context is for a closer attention
Question of Life (Amsterdam: ..
Amsterdam University Press, ..
..
to Eisner’s art-historical background as the source of a historical
..
2018), pp. 42, 100. .. aesthetics that revolves around conceptions of what later writers will call
..
.. cinematic world-making. Yet art history is not the sole disciplinary
..
..
.. precursor for Eisner’s writings. The Haunted Screen, for instance, shows
..
..
.. her sustaining a lively dialogue with early film theories (Béla Balázs,
..
..
..
.. Siegfried Kracauer, Rudolf Kurtz); literary Romanticism and modernism
..
..
...
(Jean Paul, Friedrich Theodor Vischer, Gottfried Benn); aesthetic
..
..
..
philosophy (Wilhelm Worringer); film history and criticism (Iris Barry,
..
..
..
Paul Rotha); and perhaps most centrally, theatre criticism and history
..
.. (Herbert Ihering, alongside Benno Fleischmann, whose study of theatre
..
.. impresario Max Reinhardt amplifies Eisner’s own extensive insights into
..
..
.. Reinhardt’s influence on interwar German film). Eisner’s polymorphous
..
..
.. intellectual engagements generate across her writings a composite

377 Screen 62:3 Autumn 2021
Erica Carter
Lotte Eisner: a reappraisal. Introduction
 ...
..
..
account of Weimar film in which Romantic conceptions of Germanic
..
..
..
soul exist in uneasy friction with a parallel narrative of German national
..
.. cinema as a dynamic and historically fluid intermedial assemblage.
..
..
.. Eisner’s expansive references to painting, theatre, architecture, Romantic
..
.. literature and the like reveal a conception of film as the product of a
..
..
.. constellation of historically situated aesthetic practices which it is the
..
..
dossier

..
.. historian’s task to reconstruct. At the same time, references to soul or
..
..
.. spirit, as found in her comments in The Haunted Screen on Max
...
..
..
Reinhard’s reconstruction of ‘Nordic man’s Faustian soul’, seem to
..
..
..
locate Eisner’s writing within an idealist metaphysics of Nordic identity

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14 Eisner, The Haunted Screen,
..
.. or Germanic soul.14
..
p. 51. ..
.. A second aim of this dossier is to point to ways of negotiating this
..
.. contradiction between the putative idealism of Eisner’s writing on soul,
..
..
.. and the grounding of her film history in a critical practice that is always
..
..
..
.. attentive to the materiality and historicity of film art. The dossier joins
..
..
.. Sarah Cooper in cautioning against any hasty dismissal of early film
...
..
..
theories of soul, including Eisner’s. Arguing for recognition of the term’s
..
..
..
‘wide range of meanings’ in early cinema commentary, Cooper has
..
..
..
identified in contemporary film theory a surprisingly similar interest in
..
.. what can be understood as ‘spirit’ or ‘soul’. Animation theory, for
..
.. instance, mirrors early accounts of film’s spiritual dimensions in its
..
..
.. discussions of animation as located ‘between a world in which
..
..
..
.. everything is alive with spirit, and a world in which motion is governed
..
15 Sarah Cooper, The Soul of Film ..
.. by physical laws not subject to any vivifying agency’.15 Cooper’s related
Theory (London: Palgrave
..
..
...
suggestion that ‘soul’, both in early film theory and in more recent film
Macmillan, 2013), pp. 3–4. ..
..
..
philosophy, becomes a secularized term that may displace idealist or
..
.. spiritualist understandings, is pertinent to Eisner. As noted above, Eisner
..
..
.. translates the uncanny feelings evoked by movements of light, shadow,
..
.. bodies and camera in Weimar film into what are for her the palpably
..
..
.. material qualities of mood and atmosphere. Her writing thus repeatedly
..
..
..
.. shows Weimar cineastes drawing on aesthetic strategies and materials
..
..
.. deriving from painting, theatre, music and architecture to create a
..
..
...
‘tapestry’ (an interestingly tangible metaphor) woven from both
..
..
..
remembered and newly invented images, tropes, gestures, movements
16 Eisner, The Haunted Screen,
..
..
..
and forms.16
p. 60. ..
.. Bergstrom’s contribution to this dossier explores in more detail how
..
.. Eisner charts the concrete practices through which Germany’s interwar
..
..
.. filmmakers, such as F. W. Murnau, imbued film with soul or spirit by
..
..
.. creating ‘total work[s] of film art, integrated on all levels, aesthetic and
..
..
..
.. technical’. Bergstrom shows how Eisner in her Murnau book
..
..
...
reconstructs in minute detail the production process of his films. This
..
..
..
genetic-materialist approach, as Bergstrom also demonstrates, allows
..
..
..
Eisner to mount a spirited defence of Murnau against detractors who
..
.. attribute his style to other sources, such as the scriptwriter Carl Mayer.
..
.. Julia Eisner and Naomi DeCelles continue this exploration of Eisner’s
..
..
.. material film-cultural engagements when they turn to her biography to
..
..
.. reconstruct the professional experiences that shaped her writing. Eisner

378 Screen 62:3 Autumn 2021
Erica Carter
Lotte Eisner: a reappraisal. Introduction
 ...
..
..
the film historian emerges here as a figure intellectually and
..
..
..
professionally formed by multifaceted activities first as journalist and
..
.. critic, later as collector, archivist and Chief Curator at the Cinémathèque.
..
..
.. Anton Kaes, Nicholas Baer and Michael Cowan paved the way to new
..
.. anglophone understandings of this operative dimension to Eisner’s work
..
..
.. when they included translated articles from her interwar journalism in
..
..

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..
.. their monumental document collection on German film theory across
..
17 Anton Kaes, Nicholas Baer and ..
.. three pre- and post-World War I decades, The Promise of Cinema.17
Michael Cowan (eds), The ...
..
..
Malte Hagener similarly presages our contributors’ perspectival shift
Promise of Cinema: German Film ..
Theory 1907–1933 (Berkeley, CA: ..
..
from textual exegesis of Eisner’s works to an archive-based archaeology
..
University of California Press, .. of her professional practice, when he notes Eisner’s ‘important work’
..
2016). ..
.. fostering ‘French cinephile culture’ through her collecting, archiving and
..
18 Malte Hagener, ‘Festivals and ..
.. curatorial activities at the Cinémathèque.18
..
archives as network nodes’, in .. Extracting from their own current research projects on Eisner in pre-
..
Hagener (ed.), The Emergence of ..
Film Culture: Knowledge
..
.. war Berlin and post-war Paris, DeCelles and Julia Eisner complement the
..
Production, Institution Building ..
.. work of Kaes, Baer, Cowan and Hagener with case studies that show
and the Fate of the Avant-garde ...
..
..
more clearly the specificities of Eisner’s contributions to what Hagener
in Europe, 1919–1945 (New York,
NY: Berghahn, 2014), p. 301. See
..
..
..
has termed ‘the emergence of film culture’.19 For DeCelles, Eisner’s
..
also Rolf Aurich, ‘The German ..
..
interwar journalism at once ‘troubles distinctions between reportage,
Reich film archive in an ..
criticism, theory and commentary’, and unsettles the boundaries
..
international context’, in Hagener ..
.. separating film commentary from other art-critical modes. The
(ed.), The Emergence of Film ..
..
Culture, p. 328. .. interdisciplinary richness noted by DeCelles as typical of Eisner situates
..
..
19 Hagener, ‘Festivals and archives .. her journalism squarely within interwar film culture as a
..
as network nodes’. ..
..
.. ‘multidimensional and transnational complex’ through which
..
..
...
‘knowledge about the cinema [was] discursively produced, disseminated
20 Hagener, ‘Introduction. The
..
..
..
and propagated’.20
emergence of film culture’, in ..
.. Our dossier’s third argument, then, is for a reframing of Eisner’s
Hagener (ed.), The Emergence of ..
..
Film Culture, p. 10. .. journalistic, film-historical, archival and curatorial activities within the
..
.. contemporary historiography of 20th-century film culture. A fourth
..
..
.. contention is prefigured in a May 1928 feature article for Film-Kurier
..
..
..
.. that we publish here in translation. Eisner recounts in this deliciously
..
..
.. satirical piece the story of a visit to the Prussian Staatsbibliothek (State
..
..
...
Library) to investigate what turn out to be the institution’s minimal and
..
..
..
poorly catalogued holdings on film. She ends with a rhetorical question
..
..
..
that points to our final dossier contribution, Julia Eisner’s reflections on
..
.. Eisner’s archival activities at the Cinémathèque française. ‘What if’,
..
.. Lotte Eisner muses, ‘within the framework of the Staatsbibliothek [...] a
..
..
.. systematic, comprehensive film library and the longed-for film archive
..
..
.. were finally to be created, giving over to film the space that it deserves?’
..
..
..
.. Seventeen years later, in 1945, Eisner would play her own part in
..
..
...
building at the Cinématheque française precisely such a ‘longed-for film
..
..
..
archive’. Returning from hiding in rural France after previously escaping
..
..
..
imprisonment in the Gurs internment camp, Eisner was appointed Chief
..
.. Curator at the Cinémathèque with responsibility for developing the
..
.. institution’s fledgling archive. Given her job title, and the many years she
..
..
.. spent building and presenting the Cinémathèque collections, one might
..
..
.. expect Eisner to figure prominently in post-war archive history. Her

379 Screen 62:3 Autumn 2021
Erica Carter
Lotte Eisner: a reappraisal. Introduction
 ...
..
..
contribution is, however, regularly eclipsed in a historiography that pits
..
..
..
Cinémathèque director Henri Langlois against the British Film Institute’s
..
.. Ernest Lindgren as representatives of a defining dichotomy in post-war
..
..
.. archival practice. The split embodied by these two giants of archive
..
.. history is that between a cinephile model (Langlois) that prioritizes the
..
..
.. ‘showing and sharing’ of archive film, and a preservationist model
..
..
dossier

..
.. (Lindgren) focused around restoration and preservation as practices
..
..
.. securing ‘the core asset of the global film archive ... that of film
...
21 Caroline Frick, Saving Cinema: ..
..
heritage’.21
The Politics of Preservation ..
..
..
Julia Eisner inserts Lotte Eisner as a gendered third figure who
(Oxford: Oxford University Press,

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..
2011), p. 11. .. troubles this muscular tale of two post-war archival Titans. Her essay
..
..
.. draws on Eisner’s correspondence with key figures in Weimar film
..
.. history, including Kracauer and production designer Erich Kettelhut, in
..
..
.. an effort to relocate her conceptually as a ‘major collector of the material
..
..
..
.. culture of film history’, and as a key actor in the reconstruction of post-
..
..
.. war cinephile and film exile networks. But the last word in our dossier –
...
..
..
and our fifth and final argument for revisiting her work – goes to Lotte
..
..
..
Eisner herself. DeCelles notes in Eisner’s post-war journalism a regular
..
..
..
defence of the role of the critic as ‘expert interlocutor’ and ‘advocate’ for
..
.. the art of film. Such an approach to journalistic writing demands a
..
.. nuanced attention to positionality, voice and difference: the critic’s
..
..
.. difference from her object, or spatio-temporal clefts in the film-historical
..
..
..
.. continuum, including most centrally for Eisner the catastrophe of
..
..
.. German fascism. Such attention is certainly evident in the two pieces
..
..
...
translated for this dossier. Here, as in her longer essays and monographs,
..
..
..
Eisner’s prose style is notable for the precision of her descriptions; for a
..
.. heteroglossia deriving from strategies of citation (seen in the long quotes,
..
..
.. even in these two short articles); intermediality (as in the photo essays
..
.. that pepper her longer studies); and bricolage construction, whereby her
..
..
.. insights emerge through counterpoint, juxtaposition and aphoristic
..
..
..
.. observation, as opposed to narrative linearity or Hegelian movements
..
..
.. from thesis through antithesis to synthetic conclusion. Eisner’s modernist
..
..
...
sensitivity to the immediacy of the moment is captured meanwhile in
..
..
..
staccato sentences, a telegraph style, or the use of a present tense that
..
..
..
takes the reader on a roller-coaster ride through the history of set design
..
.. in her Cahiers piece. Her presence is equally palpable in her writing’s
..
.. voice and tone; hence the irony of her persiflage of Prussian mores in the
..
..
.. Film-Kurier, her eye for the ridiculous in confrontation with ‘the
..
..
.. suspicious face of a library underling, moustache bristling’, but also her
..
..
..
.. self-assured authority as she dissects the production stages of Murnau’s
..
..
...
films to arrive at a what Bergstrom terms a ‘confident analysis’ of the
..
..
..
development of his style. Eisner’s spirited condemnation in her Cahiers
..
..
..
article of Nazi cinema’s ‘oleaginous splendours’ completes the picture of
..
.. a critic always immersed in her historical moment, whose analyses can
..
.. be just as productive for studies of political aesthetics and the cinema
..
..
.. experience as for histories of early film style. Our dossier is offered as a
..
..
.. contribution to these and other future re-purposings of Eisner’s writing,

380 Screen 62:3 Autumn 2021
Erica Carter
Lotte Eisner: a reappraisal. Introduction
...
..
..
but also as a tribute to a body of work that situates Eisner, we suggest, as
..
..
..
a figure whose contributions to film history, archival and curatorial
..
.. practice, and media aesthetics cry out to be discovered anew.
..
..
..
..
..
.. The authors would like to acknowledge the generous support of the German Academic Exchange Service (DAAD) in
..
.. funding the symposium from which this dossier derives. The symposium was hosted by the German Screen Studies Network,
..
..

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.. King’s College London and the Birkbeck Institute for the Moving Image (BIMI) as part of the DAAD-funded project,
..
.. Circulating Cinema: The Moving Image Archive as Anglo German Contact Zone.
..
..
...
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
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381 Screen 62:3 Autumn 2021
Erica Carter
Lotte Eisner: a reappraisal. Introduction