Pabst

A photography book focusing on the remaining (Many abandoned) Milwaukee Pabst Brewery Buildings with introduction by August U. Pabst. Finding art in a building that has not been occupied in 20 years..

Christian Socialism is a movement that arose in England in the mid-nineteenth century and continues into the twenty-first century. This form of socialism was aimed, in the first instance, not at institutional reform or the nationalization of the means of production but at what its proponents viewed as the moral rot that lay at the foundation of first industrial and then digital society. They opposed what we call neoliberalism and what was then known as political economy because supporters of these ideologies believed that moral convictions had no proper place in the operation of markets. This conviction rested upon the false belief that people are essentially selfish, competitive individuals seeking personal happiness. The aim of Christian Socialists was to replace this "rotten" moral foundation with another based on the view that people are social and cooperative by nature rather than competitive. Their goal was nothing less than a new society built not upon selfishness and aggression but upon social virtues such as equality, fellowship, cooperation, service, and justice. They did not deny the presence of selfishness; however, they believed that the social nature of humankind lies deeper than egotism and conflict, and they sought a society built upon this belief.

GW Pabst entered film history as a luminary of Weimar cinema, an astute observer of social struggle and psychic process, the espouser of a progressive and engaged film art. He gained international renown as the director of "The joyless street, Pandora's Box, Westfront 1918 and Kamaradschaft". After 1933, the once-revered auteur would become a voice incessantly modified and modulated by socio-political forces more sovereign than his best intentions, experiencing exile, emirgration, a sojourn in Holywood, a fateful return to Germany and an unsuccessful postwar attempt to regain a once considerable reputation. This collection of essays presents the first truly comprehensive image of a problematic firmmaker whose life and oeuvre compellingly reflect both the turbulent character of recent German history as well as the fate of artistic producers in the transcultural machinery of the modern world.