Continuity and Crisis in German Cinema, 1928-1936 (EPDF) von Barbara Hales

New essays examining the differences and commonalities between late Weimar-era and early Nazi-era German cinema against a backdrop of the crises of that time.

List of Illustrations
Acknowledgments
Introduction
"Timid Heresies": Werner Hochbaum'sRazzia in St. Pauli (1932) - Christian Rogowski
Film as Pedagogy in Late Weimar and Early Nazi Cinema: The Role of the Street in Mobilizing the Spectator - Bastian Heinsohn
"A Fairytale for Grown-ups": Financial and Cinematic Crises inDie Koffer des Herrn O.F. (1931) - Paul Flaig
"Denn Gold ist Glück und Fluch dieser Welt": Examining the Trope of "Gold" inGold (1934) andDer Kaiser von Kalifornien (1936) - Owen Lyons
Degenerate Disease and the Doctors of Death: Racial Hygiene Film as Propaganda in Weimar and Early Nazi Germany - Barbara Hales
"White Jews" and Dark Continents: Capitalist Critique and Its Racial Undercurrents in Detlef Sierck'sApril! April! (1935) - Valerie Weinstein
TheZigeunerdrama Reloaded: Leni Riefenstahl's Fantasy Gypsies and Sacrificial Others - Anjeana Hans
Regaining Mobility: The Aviator in Weimar Mountain Films - Wilfried Wilms
Brigitte Helm and Germany's Star System in the 1920s and 1930s - Mihaela Petrescu
Foreign Attractions: Czech Stars and Ethnic Masquerade - Kevin B. Johnson
Objects in Motion: Hans Richter'sVormittagsspuk (1928) and the Crisis of Avant-Garde Film - Brook Henkel
Seeing Crisis in Harry Piel'sEin Unsichtbarer geht durch die Stadt (1933) - Kalani Michell
Playing the European Market: Marcel L'Herbier'sL'Argent (1928), Ufa, and German-French Film Relations - Margrit Frölich
A Serious Man? Ernst Lubitsch's Anti-War FilmThe Man I Killed (a.k.a.Broken Lullaby, USA 1932) - Richard W. McCormick
Selected Bibliography
Notes on the Contributors
Index