Characterized by Siegfried Kracauer as "the first and last German film that overtly expressed a Communist viewpoint," Kuhle Wampe (1932) is also noteworthy for being the only film on which Bertolt Brecht collaborated from beginning to end, as well as for its controversial censorship in the tumultuous political context of the late Weimar Republic. When set against the background of the 1920 Motion Picture Law and the censorship of two other high-profile films—Sergei Eisenstein's Battleship Potemkin and Lewis Milestone's All Quiet on the Western Front—the political history of Kuhle Wampe highlights the indecisiveness, fragility, and fears of the German Left as the Nazis prepared to take power.
Triangulation and Third Culture Debates
tetralogy” of films, Strike (1925), Battleship Potemkin (1925), October (1927), and Old and New (1929), while simultaneously expanding his early theorizing of montage and expressive movement into a general theory of art. Meanwhile, Luria and Vygotsky