Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. Acknowledgments ix
5. Introduction 1
6. Part I. Politics
7. 1: “Timid Heresies”: Werner Hochbaum’s Razzia in St. Pauli (1932) 31
8. 2: Film as Pedagogy in Late Weimar and Early Nazi Cinema: The Role of the Street in Mobilizing the Spectator 51
9. Part II. The Economy
10. 3: “A Fairy Tale for Grown-ups”: Financial and Cinematic Crises in Die Koffer des Herrn O.F. (1931) 73
11. 4: “Denn Gold ist Glück und Fluch dieser Welt”: Examining the Trope of “Gold” in Gold (1934) and Der Kaiser von Kalifornien (1936) 92
12. Part III. Concepts of Race and Ethnicity
13. 5: Degenerate Disease and the Doctors of Death: Racial Hygiene Film as Propaganda in Weimar and Early Nazi Germany 113
14. 6: “White Jews” and Dark Continents: Capitalist Critique and Its Racial Undercurrents in Detlef Sierck’s April! April! (1935) 132
15. Part IV. Genre Cinema
16. 7: The Zigeunerdrama Reloaded: Leni Riefenstahl’s Fantasy Gypsies and Sacrificial Others 151
17. 8: Regaining Mobility: The Aviator in Weimar Mountain Films 167
18. Part V. Making Cinema Stars
19. 9: Brigitte Helm and Germany’s Star System in the 1920s and 1930s 189
20. 10: Foreign Attractions: Czech Stars and Ethnic Masquerade 210
21. Part VI. Film Technologies
22. 11: Objects in Motion: Hans Richter’s Vormittagsspuk (1928) and the Crisis of Avant-Garde Film 233
23. 12: Seeing Crisis in Harry Piel’s Ein Unsichtbarer geht durch die Stadt (1933) 251
24. Part VII. German-International Film Relations
25. 13: Playing the European Market: Marcel L’Herbier’s L’Argent (1928), Ufa, and German-French Film Relations 273
26. 14: A Serious Man? Ernst Lubitsch’s Antiwar Film The Man I Killed (aka Broken Lullaby, USA 1932) 291
27. Selected Bibliography 307
28. Notes on the Contributors 317
29. Index 323