1POPULAR CINEMA

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Hull, David Stewart. 1969. Film in the Third Reich: A Study of the German Cinema 1933–1945. Berkeley: University of California Press. Jacobsen, Wolfgang, ed. 1992. Babelsberg. Ein Filmstudio 1912–1992. Berlin: Argon. ———, Anton Kaes, and Hans Helmut Prinzler, eds. 1993. Die Geschichte des deutschen Films. Stuttgart: Metzler. Jung, Uli, ed. 1993. Der deutsche Film. Aspekte seiner Geschichte von den Anfängen bis zur Gegenwart. Trier: Wissenschaftlicher Verlag. Kanzog, Klaus. 1994. “Staatspolitisch besonders wertvoll.” Ein Handbuch zu 30 deutschen Spielfilmen der Jahre 1934 bis 1945. Munich: Diskurs Film. Kelson, John F. 1996. Catalogue of Forbidden German Feature and Short Film Productions Held in Zonal Film Archives of Film Section, Information Services Division, Control Commission for Germany (BE). Westport, Conn.: Greenwood Press. Koepnick, Lutz. Forthcoming. The Dark Mirror: German Cinema between Hitler and Hollywood. Berkeley: University of California Press. Krah, Hans, ed. 1999. Geschichte(n) NS-Film—NS-Spuren heute. Kiel: Ludwig. Kramer, Thomas, and Dominik Siegrist. 1991. Terra. Ein Schweizer Filmkonzern im Dritten Reich. Afterw. Hans-Ulrich Jost. Zurich: Chronos. Kreimeier, Klaus. 1996. The Ufa Story: A History of Germany’s Greatest Film Company, 1918–1945. Trans. Robert and Rita Kimber. New York: Hill and Wang. Lange, Gabriele. 1994. Das Kino als moralische Anstalt. Soziale Leitbilder und die Darstellung gesellschaftlicher Realität im Spielfilm des Dritten Reiches. Frankfurt am Main: Peter Lang. Leiser, Erwin. 1974. Nazi Cinema. Trans. G. Mander and D. Wilson. New York: Macmillan. Lowry, Stephen. 1991. Pathos und Politik. Ideologie in Spielfilmen des Nationalsozialismus. Tübingen: Niemeyer. Lueken, Verena. 1981. Zur Erzählstruktur des Nationalsozialistischen Films. Versuch einer strukturalen Analyse. Siegen: Universitäts-Gesamthochschule Siegen. Maiwald, Klaus-Jürgen. 1983. Filmzensur im NS-Staat. Dortmund: Nowotny. Moeller, Felix. 1998. Der Filmminister. Goebbels und der Film im Dritten Reich. Berlin: Henschel. Murray, Bruce, and Christopher Wickham, eds. 1992. Framing the Past: The Historiography of German Cinema and Television. Carbondale: University of Southern Illinois Press. Petley, Julian. 1979. Capital and Culture: German Cinema 1933– 45. London: British Film Institute. Peukert, Detlev J. K. 1987. Inside Nazi Germany: Conformity, Opposition and Racism in Everyday Life. Trans. Richard Deveson. New Haven, Conn.: Yale University Press. Reimer, Robert, ed. 2000. Cultural History through a National Socialist Lens: Essays on the Cinema of the Third Reich. Rochester, N.Y.: Camden House. Rentschler, Eric. 1996. The Ministry of Illusion: Nazi Cinema and Its Afterlife. Cambridge, Mass.: Harvard University Press. 264 Popular Cinema of the Third Reich
Romani, Cinzia. 1992. Tainted Goddesses: Female Film Stars of the Third Reich. Trans. Robert Connolly. New York: Sarpedon. Schulte-Sasse, Linda. 1996. Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema. Durham, N.C.: Duke University Press. Silberman, Marc. 1995. German Cinema: Texts and Contexts. Detroit: Wayne State University Press. Smith, David Calvert. 2000. The German Bibliography 1895–1949. Jefferson, N.C.: McFarland. Theuerkauf, Holger. 1998. Goebbels Filmerbe. Das Geschäft mit unveröffentlichten Ufa-Filmen. Berlin: Ullstein. Traudisch, Dora. 1993. Mutterschaft mit Zuckerguss? Frauenfeindliche Propaganda im NS-Spielfilm. Pfaffenweiler: Centaurus. Welch, David. 1985. Propaganda and the German Cinema 1933–1945. Oxford: Oxford University Press. Wendtland, Karlheinz. 1988. Geliebter Kintopp. Sämtliche deutsche Spielfilme von 1929–1945. Berlin: Verlag Medium Film. Wetzel, Kraft, and Peter A. Hagemann. 1982. Zensur—verbotene deutsche Filme 1933–1945. Berlin: Volker Spiess. Winkler-Mayerhöfer, Andrea. 1992. Starkult als Propagandamittel. Studien zum Unterhaltungsfilm im Dritten Reich. Munich: Ölschläger. Witte, Karsten. 1995. Lachende Erben, toller Tag. Filmkomödie im Dritten Reich. Munich: Vorwerk. In addition, the following special issues of journals contain important articles: Augen-Blick 15 (1993) Augen-Blick 22 (1996) Frauen und Film 44/45 (1988) montage/av 3, no. 2 (1994) New German Critique 74 (1998) Select Bibliography 265
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POPULAR CINEMA OF THE THIRD REICH
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SABINE HAKE Popular Cinema of the T
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CONTENTS Preface vii 1. Popular Cin
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PREFACE Why another study on the ci
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elements in the productive encounte
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culture and between the public and
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national cinema into international
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Mary-Beth O’Brien, Stephen Brockm
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popular genres and styles, the favo
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lemished by the times in which it w
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could pretend that fascist ideology
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tion that, “Instead of determinin
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codes, and the heavy loans from bou
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separated from the almost programma
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definition of popular cinema can th
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fused with, folk culture, which is
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tion of the spectator in the realiz
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mestic industry and its need for pr
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Hence its audience was constantly a
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the German cinema, a sensibility th
Page 42 and 43:
tained cinema after 1933 and provid
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director or producer could continue
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the musicality of his direction in
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1. Das häßliche Mädchen (1933, T
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However, at no point does she enter
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Lotte rehired, this time as the dir
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subsequent efforts at adaptation an
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2. Viktor und Viktoria (1933, Victo
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the spectator to partake in the ill
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early slapstick comedies of Lubitsc
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3 CINEMA, SET DESIGN, AND THE DOMES
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sensual and emotional excess. The r
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cism first presented by Walter Benj
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spaces to the largely decorative fu
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worked on numerous Paul Martin come
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of surface phenomena. In their view
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liner in Allotria (Tomfoolery, 1936
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young sculptor in Weimar Berlin who
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terity. The two love stories that I
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Berlin Building Exhibitions. The pi
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several light-colored carpets with
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4AT THE MOVIES FILM AUDIENCES AND T
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material, must we conclude that, to
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Efforts to attract more regulars in
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practice of “locked doors” (i.e
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from the perspective of those group
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In the absence of any measurable re
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gional differences would eventually
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ures, Walter Panofsky distinguished
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women and cinema—reason enough fo
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produced by sociological studies, s
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the form of romantic comedies, film
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man,” is clearly recognizable as
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Lowry has relied on such opposition
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some of Harold Lloyd, Edith Hamann
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1933 as an ongoing reflection on th
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ity projected by one of the leading
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figurations—but less through his
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7. Heinz Rühmann, Terra Advertisem
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sence of man. His performance encou
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To conclude: As the prototype of th
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Sirk continues to feature prominent
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duction and reception. At the same
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Delineating the formative influence
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Garvenberg (Willy Birgel) and his b
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aerial shots of Berlin’s historic
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sical encoding of otherness. As an
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seek the spiritual rewards availabl
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the articulation, however compromis
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dominant ideology, Linda Schulte-Sa
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unhealthy need for self-discovery,
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7 THE FOREIGN AND THE FAMILIAR ON G
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The myth of the Hollywood dream fac
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office hits. Paramount’s reputati
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Less frequently, Hollywood became i
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motion-picture theaters, including
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MGM maintained their Berlin offices
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and often marred by insufficient ti
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They included the Seventy-ninth Str
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and they included American Nazi sym
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newsreel Sieg im Westen (Victory in
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of Hollywood films—and, in so doi
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sion policies, and, of greatest rel
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a clear sense of national identity.
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and had contributed significantly t
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panion piece, Café Electric (1927)
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yond local and national differences
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10. Wiener Blut (1942, Viennese Blo
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too, becomes associated with “fem
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11. Operette (1940, Operetta), Adve
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Ringtheater intensify after her fir
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the so-called Überläuferfilme. Co
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drop of an artificial Vienna re-cre
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9THE POWER OF THOUGHT REDEFINING PO
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ciliation—for other mass cultural
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film journalists and scholars over
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And these, in turn, were determined
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ative subjectivity, film art achiev
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debates because of their greater ab
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entertainment. Such thinking propel
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era’s point of view find a place,
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of the racial community in resolvin
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ception of mise-en-scène. In the s
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equally noticeable shift from senti
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the following thematic overview and
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play rather than a didactic device
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The disciplining force behind these
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prosecutor who neglects her husband
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tions of war. The later Harvey film
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tender impulses that hitherto susta
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14. Unser Fräulein Doktor (1940, O
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ing sexuality. As a woman, Elisabet
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11 THE LEGACIES OF THE PAST IN THE
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logical innovations, artistic movem
Page 230 and 231: screenplay about the pervasiveness
Page 232 and 233: the theater director cancels a Zuck
Page 234 and 235: ole in the rebuilding of the German
Page 236 and 237: the privileges of traditional mascu
Page 238 and 239: trauma, it might be argued, found e
Page 240 and 241: joint appearance in the Viktor Tour
Page 242 and 243: transformation of a figure of moral
Page 244 and 245: of the eponymous 1924 film by F. W.
Page 246 and 247: come—its own past played a key ro
Page 248 and 249: equally problematic use of “featu
Page 250 and 251: Genrefilm in der Weimarer Republik
Page 252 and 253: 21. Based on detailed analysis prov
Page 254 and 255: und Film-Bauten (Reinbek: Rowohlt,
Page 256 and 257: ledge & Kegan Paul, 1982), pp. 77-9
Page 258 and 259: 33. Anon., “Das ungelöste Rätse
Page 260 and 261: Langemarck to Verdun” (pp. 45-76)
Page 262 and 263: Berlin and the conference organized
Page 264 and 265: Press, 1991), p. 274. Even someone
Page 266 and 267: 1936. For the few articles dealing
Page 268 and 269: press, see “Jüdischer USA.-Kampf
Page 270 and 271: 21. Hugo Jury, quoted by Oliver Rat
Page 272 and 273: The book is based on “Das Gesetz
Page 274 and 275: Third Reich, see Klaus Vondung, Vö
Page 276 and 277: and Ursula Bessen, Trümmer und Tr
Page 278 and 279: Jens Schumann, Hans Albers: Seine F
Page 282 and 283: THIS PAGE INTENTIONALLY LEFT BLANK
Page 284 and 285: Eggebrecht, Axel, 3 Eggerth, Marta,
Page 286 and 287: Liebelei (1933), 29, 155 Liebeneine
Page 288: Weiss Ferdl, 143 weiße Hölle vom
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