1POPULAR CINEMA

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INDEX OF GERMAN TITLES AND NAMES Acht Mädels im Boot (Eight Girls in a Boat, 1932), 250n.23 Affäre Blum (1948), 214 Albach-Retty, Wolf, 154, 199 Albers, Hans, 35, 77, 90, 93, 100, 213, 223– 224, 227–230 Alles für Gloria (Everything for Gloria, 1941), 199 Alles wegen dem Hund (All Because of the Dog, 1935), 145 Allotria (Tomfoolery, 1936), 58, 94, 95, 98, 142, 217 Amphitryon (1935), 64, 141 Anschlag auf Baku (Attack on Baku, 1942), 53 Anton der Letzte (Anton the Last, 1939), 145 Arnheim, Rudolf, 78, 179 Asphalt (1929), 49, 53 Auf der Reeperbahn nachts um halb eins (On Reeperbahn Half Past Midnight, 1954), 228 Auf Wiedersehn, Franziska (Good-bye, Franziska, 1941), 62, 243n.50 Baal, Karin, 222 Balázs, Béla, 179 Barcarole (1935), 142 Befreite Hände (Liberated Hands, 1935), 198 Beim nächsten Kuß knall ich ihn nieder (With the Next Kiss I’ll Shoot Him, 1995), 237n.32 Berger, Ludwig, 28, 29, 217 Bergmann, Ingrid, 198 Bergner, Elisabeth, 37, 143 Bernhardt, Kurt (Curtis Bernhardt), 24, 29, 30, 55 Bettelstudent, Der (The Beggar Student, 1936), 144 Birgel, Willy, 77, 100, 112, 114, 196, 213, 223–226, 230 Bismarck (1942), 178 Blaufuchs, Der (The Arctic Fox Stole, 1938), 142 Bois, Curt, 30 Bolvary, Geza von, 155 Borsche, Dieter, 222 Brauner, Artur, 217 brave Sünder, Der (The Humble Sinner, 1931), 95–97 Brecht, Bertolt, 111, 112, 183 Brennendes Geheimnis (Burning Secret, 1933), 30 Buchholz, Horst, 222 Buchner, Hans, 78 Café Electric (1927), 156 Clarissa (1941), 199 Cziffra, Geza von, 155 Dagover, Lil, 112, 114, 122 Das gab’s nur einmal (It Happened Only Once, 1958), 228 Demandowsky, Ewald von, 183, 185 Dietrich, Marlene, 136 Dr. Crippen an Bord (Dr. Crippen on Board, 1942), 58 drei von der Tankstelle, Die (The Three from the Filling Station, 1930), 93, 95, 104 Dreiklang (Triad, 1938), 147n.23
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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
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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
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screenplay about the pervasiveness
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Page 244 and 245: of the eponymous 1924 film by F. W.
Page 246 and 247: come—its own past played a key ro
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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 280 and 281: Hull, David Stewart. 1969. Film in
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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1POPULAR CINEMA

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