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‘Shell Shock Cinema’ explores how the German cinema of the Weimar Republic was haunted by the horrors of World War I and the the effects of the nation’s defeat. In this book, Anton Kaes argues that works such as ‘The Cabinet of Dr. Caligari’, ‘Nosferatu’, ‘The Nibelungen’, and ‘Metropolis’, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its aftermath. Kaes uses the term ‘shell shock’ – coined during World War I to describe soldiers suffering from nervous breakdowns – as a metaphor for the psychological wounds that found expression in Weimar cinema. Combining textual analysis with archival research, Kaes shows how this post-traumatic cinema of shell shock transformed psychological states into visual expression.