The book approaches Wilhelmine Germany through the lens of one of its most popular forms of visual mass entertainment: The Kaiser-Panorama offered its audiences a rich selection of coloured, stereo-photographic imagery, contributing to forging both, a national self-image and an imperial worldview. As a visual mass medium, the Kaiser-Panorama conveyed the ‘aestheticisation of politics’ (Walter Benjamin) in the Wilhelmine Era, while granting its viewers broad access to new optical worlds. The book explores its contradictory and intersecting role in the history of visual media by consulting prominent works of media theory.