1POPULAR CINEMA

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Eggebrecht, Axel, 3 Eggerth, Marta, 155 Ehe im Schatten (Marriage in the Shadow, 1947), 213–217 Eichberg, Richard, 228 Ein Lied geht um die Welt (A Song Travels around the World, 1933), 29, 144 Ein Mädchen mit Prokura (A Young Woman with Power of Attorney, 1934), 195 Ein Mann mit Grundsätzen? (A Man with Principles?, 1943), 198 Eine Frau wie Du (A Woman Like You, 1939), 199, 215 Eine kleine Nachtmusik (A Little Night Music, 1939), 157 Eine Mutter kämpft um ihr Kind (A Mother Fights for Her Child, 1938), 125 Einmal eine große Dame sein (To Be a Real Lady Once, 1933), 194 Ekel, Das (The Grouch, 1939), 142 Engel, Erich, 155, 205, 214 Englisch, Lucie, 143 englische Heirat, Die (The English Marriage, 1934), 194, 217 Entlassung, Die (The Dismissal, 1942), 53 Episode (1935), 155 ewige Jude, Der (The Eternal Jew, 1940), 30, 74, 177 Eyck, Peter van, 218 F.P.1 antwortet nicht (F.P.1 Doesn’t Answer, 1932), 53, 54 Fanck, Arnold, 227 Feiler, Hertha, 93 Feinde (Enemies, 1940), 225 Feldzug in Polen (The Polish Campaign, 1940), 142, 143, 147 Feuerzangenbowle, Die (The Hot Fruit Punch, 1944), 99 Film ohne Titel (Film without Title, 1948), 222 Fischer, O. W., 262n.23 Föhn (Foehn, 1950), 227 Forst, Willi, 150, 155, 158–160, 162, 165, 168, 217 Frau am Scheidewege, Die (The Woman at the Crossroads, 1938), 199 Frau am Steuer (Woman at the Wheel, 1939), 201–204 Frau im Mond (Woman in the Moon, 1929), 53 Frau im Strom (Woman in the River, 1939), 152 268 Popular Cinema of the Third Reich Frau meiner Träume, Die (The Woman of My Dreams, 1944), 54 Frauen sind keine Engel (Women Are No Angels, 1943), 58 Frauenliebe—Frauenleid (Woman’s Love— Woman’s Suffering, 1937), 125 freudlose Gasse, Die (The Joyless Street, 1925), 31, 155 Freund, Karl, 52 Friesennot (Frisian Plight, 1935), 145 Fritsch, Willy, 132, 143, 160, 201, 222 Froelich, Carl, 97 Fürst von Pappenheim, Der (The Count of Pappenheim, 1927), 236n.21 Fürst Woronzeff (Count Woronzeff, 1934), 225 Gabriela (1950), 222 ganz großen Torheiten, Die (Such Great Foolishness, 1937), 156 Geliebte Welt (Beloved World, 1942), 192 George, Heinrich, 57, 77, 90, 102, 212 Gerron, Kurt, 30 Glückskinder (Lucky Kids, 1936), 54, 132 Glückszylinder, Der (The Magic Top Hat, 1932), 142 Goebbels, Joseph, 3, 4, 6, 25, 27, 32, 52, 55, 72, 74, 93, 136, 149, 150, 175, 213, 219 Gold (1934), 53, 54, 56, 57 goldene Stadt, Die (The Golden City, 1942), 215 Gottschalk, Joachim, 213–215, 229 Greifer, Der (The Catcher, 1958), 228 Groll, Gunter, 179 Große Freiheit Nr. 7 (Great Freedom Street No. 7, 1944), 228 große König, Der (The Great King, 1942), 76, 239n.2 große Liebe, Die (The Great Love, 1942), 96, 222 große und die kleine Liebe, Die (The Great and the Little Love, 1938), 194 Großstadtmelodie (Big City Melody, 1943), 198 Gründgens, Gustaf, 100, 212, 235n.16, 260n.2 Haas, Dolly, 34, 37, 143 Hallo Janine (Hello Janine, 1939), 58 Hans Westmar (1933), 26 Hansen, Max, 24, 30, 34, 37, 42 Harlan, Veit, 4, 110, 126, 215, 228, 261n.12 Harms, Rudolf, 78
Hartl, Karl, 152, 153 Harvey, Lilian, 132, 201, 202 häßliche Mädchen, Das (The Ugly Girl, 1933), 24–39, 41, 45, 194 Hauptsache glücklich (Happiness Is the Main Thing, 1940), 94, 95 Heiberg, Kirsten, 64 Heimkehr (Homecoming, 1941), 178, 192 Heimkehr ins Glück (Homecoming to Happiness, 1933), 99 Heinz im Mond (Heinz in the Moon, 1934), 93 Helm, Brigitte, 77 Herking, Ursula, 198 Herlth, Robert, 52, 64 Hermann, Willi A., 62 Herrscher, Der (The Ruler, 1937), 145, 228 Herz von St. Pauli, Das (The Heart of St. Pauli, 1957), 228 Herzberg, Georg, 180 Hildebrand, Hilde, 40 Hippler, Fritz, 30, 78, 101, 177, 178 Hitler, Adolf, 24, 55, 59, 149, 201 Hitlerjunge Quex (Hitler Youth Quex, 1933), 26, 57 Hochbaum, Werner, 155 Hofkonzert, Das (The Court Concert, 1936), 142 Hohe Schule (Haute École, 1934), 155 Holst, Maria, 160, 165 Holzmeister, Judith, 168 Hoppe, Marianne, 62, 100, 132, 143, 196, 239n.23, 243n.50 Hörbiger, Attila, 154 Hörbiger, Paul, 154 Horney, Brigitte, 100, 143, 198, 199, 215 Hotel Sacher (1939), 74 Hunte, Otto, 52–54, 56 Hurra! Ich bin Papa! (Hurrah! I Am a Dad!, 1939), 98 Ich brauche dich (I Need You, 1944), 196, 225 Ich für dich und du für mich (I for You and You for Me, 1934), 194 Ich klage an (I Accuse, 1941), 76, 261 Ich vertraue dir meine Frau an (I Entrust You with My Wife, 1943), 95, 98 Im Sonnenschein (In the Sunshine, 1936), 144n.9 Immensee (1943), 126 In weiter Ferne, so nah (Far Away, So Close, 1993), 89 Jacoby, Georg, 54 Jannings, Emil, 102, 143, 212, 217 Jud Süss (Jew Süss, 1940), 53 Jugo, Jenny, 194, 204, 205 Jürgens, Curd, 169 Kameradschaft (Comradeship, 1932), 55 Kauer, Edmund Theodor, 185 Käutner, Helmut, 62, 110, 126 Kettelhut, Erich, 52–55 Kiepura, Jan, 144, 155 Kindermann, Heinz, 187 kleine Grenzverkehr, Der (Small Border Traffic, 1943), 252n.1 Klinger, Paul, 215 Knef, Hildegard, 222 Koch, Lotte, 199 Kolberg (1945), 74, 192, 239n.2 Komar, Dora, 165, 169 Kongress tanzt, Der (The Congress Dances, 1932), 156, 160 Kortner, Fritz, 29, 30, 96 Kosterlitz, Hermann (Henry Koster), 24, 28–31, 35, 36, 44, 45, 55 Kracauer, Siegfried, 3, 25, 31, 47, 188 Krahl, Hilde, 198 Kreißler, Dorit, 161 Kuhle Wampe (Whither Germany?, 1932), 142 La Habanera (1937), 109 Lachende Erben (Laughing Heirs, 1933), 95, 104 Laemmle, Carl, 24, 146 Lamprecht, Gerhard, 195 Land der Liebe (Land of Love, 1937), 25 Lang, Fritz, 26, 49, 52, 154 Lange, Konrad, 78 Lauckner, Rolf, 180 Lauter Lügen (All Lies, 1938), 93, 95 Leander, Zarah, 4, 77, 100, 122, 132, 143, 196, 212, 222 Leise flehen meine Lieder (Quietly My Songs Are Weeping, 1933), 155 letzte Mann, Der (The Last Laugh, 1924), 49, 52 letzte Mann, Der (The Last Man, 1955), 227 Leuwerik, Ruth, 218 liebe Augustin, Der (Beloved Augustin, 1940), 157 Liebe ist zollfrei (Love Is Duty-free, 1941), 252n.1 Index 269
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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
Page 46 and 47:
the musicality of his direction in
Page 48 and 49:
1. Das häßliche Mädchen (1933, T
Page 50 and 51:
However, at no point does she enter
Page 52 and 53:
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
Page 92 and 93:
from the perspective of those group
Page 94 and 95:
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
Page 108 and 109:
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
Page 132 and 133:
aerial shots of Berlin’s historic
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sical encoding of otherness. As an
Page 136 and 137:
seek the spiritual rewards availabl
Page 138 and 139:
the articulation, however compromis
Page 140 and 141:
dominant ideology, Linda Schulte-Sa
Page 142 and 143:
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
Page 148 and 149:
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
Page 218 and 219:
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
Page 224 and 225:
ing sexuality. As a woman, Elisabet
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11 THE LEGACIES OF THE PAST IN THE
Page 228 and 229:
logical innovations, artistic movem
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screenplay about the pervasiveness
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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 280 and 281: Hull, David Stewart. 1969. Film in
Page 282 and 283: THIS PAGE INTENTIONALLY LEFT BLANK
Page 286 and 287: Liebelei (1933), 29, 155 Liebeneine
Page 288: Weiss Ferdl, 143 weiße Hölle vom
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