Acknowledgments

Kapitel in diesem Buch

1. Frontmatter I
2. Acknowledgments V
3. Contents VII
4. Introduction 1
5. Part 1: Pictorial affects
6. 1. Cinematic Titanic: Early German cinema and the modern media event 17
7. 2. Ciphers of loss: Max Mack’s (in)visible authorship 47
8. 3. Frames of desire: Franz Hofer, melodrama and narrative space 66
9. 4. Phantasmatic intimacy: The tears of Asta Nielsen 78
10. 5. Metaphors and atmospheres: Murnau, fantasy and the Kammerspielfilm 90
11. Part 2: Synchronizing the senses
12. 6. Sculpting with light: Stereoscopic vision and the idea of Film as a “Plastic Art in Motion” 111
13. 7. Permanent Transition: Techniques and technologies of the early German music film 136
14. 8. Ruptures in the nation’s “experiential economy”: Universal in Germany and ALL QUIET ON THE WESTERN FRONT 160
15. 9. Epilogue: Fritz Lang, double vision and the place of rupture 180
16. Bibliography 192
17. Filmography 206
18. Subject Index 210
19. Name Index 213
20. Film Index 216