Introduction: Images and Imaginaries - Christian Rogowski
Richard Oswald and the Social Hygiene Film: Promoting Public Health
or Promiscuity? - Jill Suzanne Smith
Unsettling Nerves: Investigating War Trauma in Robert Reinert's
Nerven (1919) -
Humanity Unleashed: Anti-Bolshevism as Popular Culture in Early
Weimar Cinema - Philipp Stiasny
Desire versus Despotism: The Politics of Sumurun (1920), Ernst
Lubitsch's "Oriental" Fantasy - Richard W. McCormick
Romeo with Sidelocks: Jewish-Gentile Romance in E. A. Dupont's Das
alte Gesetz (1923) and Other Early Weimar Assimilation Films -
Cynthia Walk
"These Hands Are Not My Hands": War Trauma and Masculinity in
Crisis in Robert Wiene's Orlacs Hände (1924) - Anjeana Hans
The Star System in Weimar Cinema - Joseph Garncarz
Schaulust: Sexuality and Trauma in Conrad Veidt's Masculine
Masquerades - Elizabeth Otto
The Musical Promise of Abstract Film - Joel Westerdale
The International Project of National(ist) Film: Franz Osten in
India - Veronika Fuechtner
The Body in Time: Wilhelm Prager's Wege zu Kraft und Schönheit
(1926) -
Henrik Galeen's Alraune (1927): The Vamp and The Root of Horror
-
The Dialectic of (Sexual) Enlightenment: Wilhelm Dieterle's
Geschlecht in Fesseln (1928) - Christian Rogowski
Babel's Business - On Ufa's Multiple Language Film Versions,
1929-1933 - Chris Wahl
"A New Era of Peace and Understanding": The Integration of Sound
Film into German Popular Cinema, 1929-1932 - Ofer Ashkenazi
Landscapes of Death: Space and the Mobilization Genre in G. W.
Pabst's Westfront 1918 (1930) - John F Fetzer
Undermining Babel: Victor Trivas's Niemandsland (1931) - Nancy P.
Nenno
Unmasking Brigitte Helm and Marlene Dietrich: The Vamp in German
Romantic Comedies (1930-33) -
Anjeana K. Hans is Associate Professor of German Studies at Wellesley College. JILL SUZANNE SMITH is Associate Professor of German at Bowdoin College.
An important contribution to the literature on Weimar cinema. . . .
The editor, Christian Rogowski . . . places in focus not the
canonical films of the time like Caligari, Nosferatu, or
Metropolis, but instead important films of the 'second rank' and
specific thematic connections. . . . Almost all the essays are
conceived and formulated at a high level and make visible
connections between film and society in the Weimar period. The
approximately sixty images are helpful to the reader. . . .
*HANS-HELMUT PRINZLER, WWW.HHPRINZLER.DE*
[A]n enormously important and didactically helpful intervention . .
. . [The book] lives up to the promise of its title and should soon
become mandatory reading for everyone interested in new
perspectives on Weimar Cinema.
*FILMBLATT*
Goes beyond a mere reevaluation of film classics in matters of film
and topic selection. . . . offer[s] readers fresh perspectives on .
. . a cornucopia of undiscovered or relatively unknown filmic gems,
paired with long overdue approaches of media studies . . . . keeps
its promise as claimed in the subtitle, as it genuinely rediscovers
Germany's filmic legacy.
*GERMAN STUDIES REVIEW*
[T]he scholars' excitement about exploring this hitherto uncharted
territory is palpable and infectious. The balance of theoretical
scaffolding and ambitious storytelling make the articles . . .
perfectly suited for undergraduates and should find ample use in
film classes . . .[and] inspire more classes on the early years of
German cinema.
*WOMEN IN GERMAN NEWSLETTER*
Rogowski's outstanding collection moves beyond the familiar canon
to reevaluate the diverse legacy of Weimar film . . . provide[s]
new social, historical, and aesthetic contexts for understanding
Weimar cinema and introduce[s] readers to less-familiar popular,
abstract, documentary, and genre films.
*CHOICE*
A bold attempt at expanding the field and revising the standard
literature. . . . [Its] main achievement is the emphasis it places
on a formerly neglected set of films and topics.
*TIMES LITERARY SUPPLEMENT*
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