Bibliographic record
Abstract
: Chapter 5 turns to the emergence of the ‘aggregate image’ in the cinema and economic discourse of the Weimar Republic. It discusses Eisenstein's plans for a film based on Marx's Das Kapital and Brecht's unfinished play Jae Fleischhacker in Chikago (1924), which attempted to dramatize the grain market. Discovered fragments of Balázs's K 13 513: Die Abenteuer eines Zehnmarkscheins (‘Adventures of a Ten Mark Note’ or ‘Uneasy Money,’ 1926) – the first ‘cross-section film’ – are discussed along with Kuhle Wampe, oder: Wem gehört die Welt? (‘Kuhle Wampe, or: Who Owns the World?,’ 1932). The visual convention of the Querschnitt (‘cross-section’), a radical montage aesthetic, was emptied of its political content in the creation of a corporate vision of the world economy in Melodie der Welt (‘Melody of the World,’ 1929). The cinematic ‘aggregate image’ of the world is placed alongside parallel developments in economics that were used to create an image of the world economy. Keywords: World Economy, Financial Image, Montage, Statistics, Sergei Eisenstein, Bela Balázs Macroeconomic Visions Introduction In this chapter, I address several key critical representations of finance capital. I am primarily concerned here with filmmakers who adopted montage as a central means to lay bare the inequality of capitalism, as well as the ways in which montage was used to present a new awareness of the global economy. I discuss examples of Soviet montage, both completed and abandoned, including Sergei Eisenstein's plan (begun in the early 1920s) to create a film based on Karl Marx's Das Kapital , Béla Balázs and Bertold Viertel's K 13 513: Die Abenteuer eines Zehnmarkscheins (1926), Bertolt Brecht and Slatan Dudow's Kuhle Wampe (1932), as well as Brecht's unfinished play Jae Fleischhacker in Chikago (1924). I will contextualize these works within larger image-making practices of the Weimar Republic that mobilized the idea of the Querschnitt (‘cross-section’) – which had taken hold in Weimar culture across a variety of media – to create an aggregate image.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.003 | 0.012 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".