Film as Graphic Art: On Karl Heinz Martin’s From Morn to Midnight

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Preface ix
4. List of Illustrations and Credits xiii
5. I. Expressionist Film — Weimar Cinema
6. Activating the Differences: Expressionist Film and Early Weimar Cinema 1
7. Weimar Cinema, Mobile Selves, and Anxious Males: Kracauer and Eisner Revisited 33
8. II. Revolution, Crime, and the Uncanny
9. Revolution, Power, and Desire in Ernst Lubitsch’s Madame Dubarry 73
10. “Bringing the Ghostly to Life”: Fritz Lang and His Early Dr. Mabuse Films 87
11. Murnau — a Conservative Filmmaker? On Film History as Intellectual History 111
12. III. The Art of Expressionist Film
13. The Double, the Décor, and the Framing Device: Once More on Robert Wiene’s The Cabinet of Dr. Caligari 125
14. Film as Graphic Art: On Karl Heinz Martin’s From Morn to Midnight 157
15. Episodic Patchwork: The Bric-à-Brac Principle in Paul Leni’s Waxworks 173
16. IV. The Street, the Vaudeville, and the Power of the Camera
17. Entrapment and Escape: Readings of the City in Karl Grune’s The Street and G. W. Pabst’s The Joyless Street 187
18. Fragmenting the Space: On E. A. Dupont’s Varieté 211
19. On Murnau’s Faust: A Generic Gesamtkunstwerk? 223
20. V. Avant-Garde Film
21. “Painting in Time” and “Visual Music”: On German Avant-Garde Films of the 1920s 237
22. Ruttmann, Rhythm, and “Reality”: A Response to Siegfried Kracauer’s Interpretation of Berlin. The Symphony of a Great City 251
23. Filmography 271
24. Bibliography 279
25. Notes on the Contributors 289
26. Index 293