“Lulu is always image” writes Thomas Elsaesser (Louise Brooks, Pabst und Die Büchse der Pandora. In: G. W. Pabst, hrsg. G. Schlemmer, B. Riff, G. Haberl. MAKS Publikationen, Münster, 1990) about the protagonist in G. W. Pabst’s film classic DIE BÜCHSE DER PANDORA (D 1929). Uniting image, femininity, and eroticism into a projection surface for desires and cravings, Pabst picks up on the zeitgeist of the 1920s and makes an important contribution to the film/art discussion of the time with his staging of Lulu. Following the new objective art, in which contemporary critics saw the ‘true’ realized in the ‘de-realization of objects’, Pabst approaches the ‘true’ through the transformation, on the one hand of his protagonist and on the other hand of the pictorial space. Thus, starting from the classical beautiful image, a transformation to the fragmentary and performative takes place, which—according to the thesis of the article—aims at turning away from conventional art—such as painting—in favor of the ‘new art form’ of film.