Untitled

Erik Jensen
of boxing fans echoed a much broader anxiety regarding violence in society, as
indicated by sensationalized crime reporting, street fighting, armed militias and
political assassinations. The quest for proper spectatorship represented, in many
ways, the quest for a proper society, as well.
Notes
1. Theodor Frehse, “Es wird geboxt,” Boxsport 5, 239 (1925), p. 13.
2. Christiane Eisenberg, “Massensport in der Weimarer Republik: Ein statistischer
Überblick,” Archiv für Sozialgeschichte 33 (1993), p. 168.
3. David Bathrick examines the image of the boxer in Weimar Germany, but he does
not specifically address spectatorship: “Max Schmeling on the Canvas: Boxing as an Icon
of Weimar Germany,” New German Critique 51 (1990), pp. 113–36. Kasia Boddy explores
female boxing spectatorship in the context of American film and literature: “Watching the
Fight: Women Spectators in Boxing Fiction and Film,” in Tim Armstrong (ed.), American
Bodies: Cultural Histories of the Physique (New York: New York University Press, 1996),
pp. 204–12.
4. Pierre Bourdieu, “How Can One be a Sports Fan?” (1978), in Simon During (ed.),
The Cultural Studies Reader (New York: Routledge, 1993), pp. 339–56.
5. Vanessa R. Schwartz, Spectacular Realities: Early Mass Culture in Fin-de-Siècle
Paris (Berkeley, CA: University of California Press, 1998). Judith Walkowitz, City of
Dreadful Delight: Narratives of Sexual Danger in Late-Victorian London (Chicago:
University of Chicago Press, 1992); Peter Fritzsche, Reading Berlin 1900 (Cambridge, MA:
Harvard University Press, 1996).
6. Patrice Petro, Joyless Streets: Women and Melodramatic Representation in Weimar
Germany (Princeton, NJ: Princeton University Press, 1989); Jackie Stacey, Star Gazing:
Hollywood Cinema and Female Spectatorship (New York: Routledge, 1994); Leo Charney
and Vanessa R. Schwartz (eds), Cinema and the Invention of Modern Life (Berkeley, CA:
University of California Press, 1995); Marsha Kinder, Blood Cinema: The Reconstruction
of National Identity in Spain (Berkeley: University of California Press, 1993); Yuri Tsivian,
Early Cinema in Russia and its Cultural Reception, trans. Alan Bodger (Chicago: University
of Chicago Press, 1991); Heide Fehrenbach, Cinema in Democratizing Germany:
Reconstructing National Identity after Hitler (Chapel Hill, NC: University of North
Carolina Press, 1995).
7. Adrian Shubert, Death and Money in the Afternoon: A History of the Spanish
Bullfight (New York: Oxford University Press, 1999), p. 14.
8. Schwartz, Spectacular Realities, p. 5.
9. Quoted in Gertrud Pfister and Gerd Steins (eds), Sport in Berlin: Vom Ritterturnier
zum Stadtmarathon (Berlin: Verlag Forum für Sportgeschichte, 1987), p. 8.
10. For a full treatment of the history of professional boxing in Germany, see Knud Kohr
and Martin Krauß, Kampftage: Die Geschichte des deutschen Berufsboxens (Göttingen: Die
Werkstatt Verlag, 2000).
11. Leonhard Mandlár, “Entwickelung des modernen Boxsports in Deutschland und
seine Organisation,” Boxsport (October 13, 1921), pp. 1–3.
98