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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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- Page 46 and 47: the musicality of his direction in
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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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the theater director cancels a Zuck
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ole in the rebuilding of the German
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the privileges of traditional mascu
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trauma, it might be argued, found e
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joint appearance in the Viktor Tour
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transformation of a figure of moral
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of the eponymous 1924 film by F. W.
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come—its own past played a key ro
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equally problematic use of “featu
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Genrefilm in der Weimarer Republik
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21. Based on detailed analysis prov
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und Film-Bauten (Reinbek: Rowohlt,
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ledge & Kegan Paul, 1982), pp. 77-9
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33. Anon., “Das ungelöste Rätse
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Langemarck to Verdun” (pp. 45-76)
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Berlin and the conference organized
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Press, 1991), p. 274. Even someone
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1936. For the few articles dealing
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press, see “Jüdischer USA.-Kampf
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21. Hugo Jury, quoted by Oliver Rat
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The book is based on “Das Gesetz
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Third Reich, see Klaus Vondung, Vö
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and Ursula Bessen, Trümmer und Tr
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Jens Schumann, Hans Albers: Seine F
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Hull, David Stewart. 1969. Film in
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THIS PAGE INTENTIONALLY LEFT BLANK
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Eggebrecht, Axel, 3 Eggerth, Marta,
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Liebelei (1933), 29, 155 Liebeneine
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Weiss Ferdl, 143 weiße Hölle vom