Weimar's Queer Visual Cultures

Birgit Lang is a professor of German at the University of Melbourne.Ina Linge is an associate professor of German, and gender and sexuality studies at the University of Exeter.Katie Sutton is an associate professor of German and gender studies at the Australian National University.

• 1. Introduction: Weimar’s Queer Visual CulturesBirgit Lang, Ina Linge, and Katie Sutton2. Virtual Witnessing: Weimar Cinema’s pre-Weimar roots in Anders als die Andern (Different from the Others, 1919)Sara Friedman3. Beyond Open Bookshelves: Knabenliebe, Homoerotica, and Publishing in Weimar GermanyCamilla Smith4. Taxonomies of Venus: Curt Moreck, Gerda Wegener, and the Queer Aesthetics of Cultural-Sexological PrintEliza Coyle5. Ambivalent Images: Revisiting Magnus Hirschfeld’s Photo Wall of Sexual IntermediariesRainer Herrn6. Weimar Tarot and the Queer Sensuous Knowledge of Ernst Tristan KurtzahnErvin Malakaj7. Self-Portrait with a Cat: Weimar’s Queer History Beyond the HumanHeike Bauer8. In the Closet: Codified Queerness in G.W. Pabst’s Pandora’s Box (1929)Molly Harrabin9. Erotic Pedagogy, Power Play, and Suspended Pleasure in Mädchen in Uniform (1931)Cedar Lensing-Sharp10. Between the Bar and the Clinic: Trans* Visual Histories in Mysterium des GeschlechtesJonah I. Garde11. My Own I: Transgender Presentation and “Doing” Gender in Weimar GermanyBodie A. Ashton12. Queer Nostalgia: Ernst Hildebrand, Homoerotica, and Post-war Memories of Weimar BerlinTy Vanover13. “=Queer Futurist Performance Aesthetics in Babylon Berlin (2017–2025)Wesley Lim14. Photographing Transness and Weimar Berlin: Transparent on Television and on the Stage, and Hirschfeld’s PhotographyLaurie Marhoefer