Table of Contents

CONTENTS - 6[-]Preface and Acknowledgements - 8[-]General Introduction - 10[-] Early German Cinema: A Second Life? - 10[-]SECTION I: AUDIENCES AND THE CINEMA INDUSTRY - 40[-] The Kaiser's Cinema: An Archeology of Attitudes and Audiences - 42[-] Oskar Messter, Film Pioneer: Early Cinema between Science, Spectacle, and Commerce - 52[-] The French Connection: Franco-German Film Relations before World War I - 63[-] The Danish Influence: David Oliver and Nordisk in Germany - 73[-] Paul Davidson, the Frankfurt Film Scene and AFGRUNDEN in Germany - 80[-] Munich's First Fiction Feature: DIE WAHRHEIT - 87[-] Moving Images of America in Early German Cinema - 94[-]SECTION II: POPULAR STARS AND GENRES - 102[-] Comedy - 104[-] Early German Film Comedy, 1895-1917 - 104[-] The Spectator as Accomplice in Ernst Lubitsch's SCHUHPALAST PINKUS - 115[-] Melodrama and Social Drama - 119[-] Asta Nielsen and Female Narration: The Early Films - 119[-] Melodrama and Narrative Space: Franz Hofer's HEIDENR�SLEIN - 124[-] Crime Drama and Detective Film - 133[-] Cinema from the Writing Desk: Detective Films in Imperial Germany - 133[-] Ernst Reicher alias Stuart Webbs: King of the German Film Detectives - 143[-] The Early Fantasy Film - 152[-] The Faces of Stellan Rye - 152[-] HOMUNCULUS: A Project for a Modern Cinema - 161[-] Non-Fiction: War Films, Industrial Films, Propaganda and Advertising - 169[-] Julius Pinschewer: A Trade-mark Cinema - 169[-] Newsreel Images of the Military and War, 1914-1918 - 176[-] Learning from the Enemy: German Film Propaganda in World War I - 186[-] The Reason and Magic of Steel: Industrial and Urban Discourses in DIE POLDIH�TTE - 193[-]SECTION III: FILM STYLE AND INTERTEXTS: AUTHORS, FILMS, AND AUTHORS' FILMS - 204[-] Max Mack: The Invisible Author - 206[-] From Peripetia to Plot Point: Heinrich Lautensack and ZWEIMAL GELEBT - 214[-] Giuseppe Becce and RICHARD WAGNER: Paradoxes of the First German Film Score - 220[-] Early German Film: The Stylistics in Comparative Context - 226[-] Self-Referentiality in Early German Cinema - 238[-] Of Artists and Tourists: 'Locating' Holland in Two Early German Films - 247[-] Stylistic Expressivity in DIE LANDSTRASSE - 257[-] Two 'Stylists' of the Teens: Franz Hofer and Yevgenii Bauer - 265[-] The Voyeur at Wilhelm's Court: Franz Hofer - 278[-]Notes - 286[-]Bibliography - 338[-]Publication Acknowledgements - 347[-]List of Contributors - 350

About the Author

"http://www.thomas-elsaesser.com/" target="_blank">Thomas Elsaesser is Professor of Film and Television Studies in the Department of Art and Culture at the University of Amsterdam.