1POPULAR CINEMA

UFA tradition of quality, beginning with Paramount’s head designer Hans Dreier,
who was responsible for the ultramodern interiors in Ernst Lubitsch’s Trouble in
Paradise (1932). Acknowledging these patterns of influence, émigré director Edgar
G. Ulmer used the figure of the satanic Hjalmar Poelzig, named after the architect
Hans Poelzig, in the horror film The Black Cat (1934) to “demonstrate” the evils of
high modernism.
19. See Marcia Landy, Fascism in Film: The Italian Commercial Cinema, 1931–
1943 (Princeton, N.J.: Princeton University Press, 1986), pp. 230–275, and Howard
Mandelbaum and Eric Myers, Screen Deco: A Celebration of High Style in Hollywood
(New York: St. Martin’s Press, 1985).
20. See Andreas Huyssen, “Mass Culture as Woman: Modernism’s Other,” in After
the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana
University Press, 1983), pp. 44– 62.
21. Georg Herzberg, review of Venus vor Gericht, Film-Kurier, 5 June 1941.
22. Some of these issues are discussed in the anthology Sexuality & Space,
ed. Beatriz Colomina (Princeton, N.J.: Princeton Architectural Press, 1992), especially
the articles by Laura Mulvey, “Pandora: Topographies of the Mask and Curiosity”
(pp. 53–72), and by Beatriz Colomina, “The Split Wall: Domestic Voyeurism”
(pp. 73–128).
23. The “film-celebrities-at-home” series in the illustrated film magazine Filmwelt
suggests that only a few chose modern designs for their Charlottenburg apartments
and Grunewald villas: Leni Riefenstahl (in Filmwelt 30 [1933]) and Hertha
Thiele (in Filmwelt 5 [1934]). The vast majority of stars, from Rühmann to Hoppe,
preferred the signature style of the Reich’s artistic elites, neogothic and neobaroque
interiors interspersed with contemporary designs in reed and raffia.
24. On the relevance of women’s fashions as an ongoing compromise among the
international trend toward more feminine styles, National Socialist ideas of femininity,
and the new exigencies of the war economy (e.g., in the form of clothes rationing),
see Gloria Sultano, . . . wie geistiges Kokain. Mode unterm Hakenkreuz (Vienna:
Verlag für Gesellschaftskritik, 1995).
4. AT THE MOVIES: FILM AUDIENCES
AND THE PROBLEM OF SPECTATORSHIP
1. Eric Rentschler, The Ministry of Illusion: Nazi Cinema and Its Afterlife, p. 222.
2. Linda Schulte-Sasse, Entertaining the Third Reich: Illusions of Wholeness in
Nazi Cinema, p. 34. An insightful analysis of Der große König (The Great King, 1942)
and Kolberg (1945) from the perspective of spectatorship can be found in Irmbert
Schenk, “Geschichte im NS-Film. Kritische Anmerkungen zur filmwissenschaftlichen
Suggestion der Identität von Propaganda und Wirkung,” montage/av 3, no. 2
(1994): 73–98.
3. On cinema as a public sphere, see John Ellis, Visible Fictions (London: Rout-
Notes to pages 59–70 239