Chapter 10 ‘BE KVITE KVIET, EVERYBODY, PLEASE!’: PAUL L. STEIN AND BRITISH CINEMA

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ACKNOWLEDGEMENTS vii
4. Chapter 1 INTRODUCTION: GERMAN-SPEAKING EMIGRÉS AND BRITISH CINEMA, 1925–50: CULTURAL EXCHANGE, EXILE AND THE BOUNDARIES OF NATIONAL CINEMA 1
5. Chapter 2 LIFE IS A VARIETY THEATRE – E.A. DUPONT’S CAREER IN GERMAN AND BRITISH CINEMA 24
6. Chapter 3 GEZA VON BOLVARY, ARNOLD RIDLEY AND ‘FILM EUROPE’ 36
7. Chapter 4 INSIDE THE ROBOTS’ CASTLE: UFA’S ENGLISH-LANGUAGE VERSIONS IN THE EARLY 1930S 47
8. Chapter 5 FLAMBOYANT REALISM: WERNER BRANDES AND BRITISH INTERNATIONAL PICTURES IN THE LATE 1920S 62
9. Chapter 6 FAMOUSLY UNKNOWN: GÜNTHER KRAMPF’S WORK AS CINEMATOGRAPHER IN BRITISH FILMS 78
10. Chapter 7 ‘GERMAN, OR STILL MORE HORRIBLE THOUGHT, RUSSIAN – AT ANY RATE, IT IS UN-ENGLISH!’: A WIDE SHOT OF EXILE, EMIGRÉ AND ITINERANT ACTIVITY IN THE BRITISH FILM INDUSTRY IN THE 1930S 89
11. Chapter 8 EXTENDING FRAMES AND EXPLORING SPACES: ALFRED JUNGE, SET DESIGN AND GENRE IN BRITISH CINEMA 100
12. Chapter 9 LOST IN SIBERIA: ERNÖ METZNER IN BRITAIN 111
13. Chapter 10 ‘BE KVITE KVIET, EVERYBODY, PLEASE!’: PAUL L. STEIN AND BRITISH CINEMA 123
14. Chapter 11 ALLEGORIES OF DISPLACEMENT: CONRAD VEIDT’S BRITISH FILMS 142
15. Chapter 12 ANTON WALBROOK: THE CONTINENTAL CONSORT 155
16. Chapter 13 FROM ‘ALIEN PERSON’ TO ‘DARLING LILLI’: LILLI PALMER’S ROLES IN BRITISH CINEMA 172
17. Chapter 14 ‘YOU CALL US “GERMANS”, YOU CALL US “BROTHERS” – BUT WE ARE NOT YOUR BROTHERS!’: BRITISH ANTI-NAZI FILMS AND GERMAN-SPEAKING ÉMIGRÉS 181
18. Chapter 15 CARL MAYER: YEARS OF EXILE IN LONDON 195
19. Chapter 16 MUSIC FOR THE PEOPLE: ESCAPISM AND SOCIAL COMMENT IN THE WORK OF HANS MAY AND ERNST MEYER 204
20. Chapter 17 I KNOW WHERE I’M GOING! HEARING GERMANIC MUSIC IN THE SCOTTISH ISLES 220
21. Chapter 18 ‘AN ANIMATED QUEST FOR FREEDOM’: MÁTYÁS SEIBER’S SCORE FOR THE MAGIC CANVAS 230
22. NOTES ON CONTRIBUTORS 243
23. BIBLIOGRAPHY 247
24. INDEX 259