Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. Notes on Contributors ix
5. Chronology xiii
6. 1 Introduction 1
7. 2 Exploding the Cosmopolitan and Treating the Foreigners’ Foreignness: Paul Leni’s The Diary of Dr. Hart 36
8. 3 The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs 52
9. 4 Cinema Panopticum: Wax, Work, Waxworks 69
10. 5 The Proto-Horror-Comedy: Waxworks 82
11. 6 Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles 97
12. 7 Bravura Beginnings: Paul Leni and the Art of the Prologue 116
13. 8 Paul Leni’s The Cat and the Canary: Adaptation into Genre 140
14. 9 Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the Canary 158
15. 10 Misfitting in America: Paul Leni, Conrad Veidt, and The Man Who Laughs 172
16. 11 Masculinity and Facial Disfigurement in The Man Who Laughs 189
17. 12 Cinematic Space and Set Design in Paul Leni’s The Last Warning 203
18. 13 The Last Warning: Uncertainty, Exploitation, and Horror 219
19. Filmography 239
20. Index 254