Chapter 12. “A Clarion Call to Strike Back”: Antisemitism and Ludwig Berger’s Der Meister von Nürnberg (1927)

Kapitel in diesem Buch

1. Frontmatter I
2. CONTENTS V
3. FIGURES VII
4. ACKNOWLEDGMENTS IX
5. Introduction THE JEWISHNESS OF WEIMAR CINEMA 1
6. PART I JEWISH VISIBILITY ON AND OFF SCREEN
7. Chapter 1. Humanizing Shylock: The “Jewish Type” in Weimar Film 23
8. Chapter 2. Energizing the Dramaturgy: How Jewishness Shaped Alexander Granach’s Performances in Weimar Cinema 44
9. Chapter 3. The Jewish Vamp of Berlin: Actress Maria Orska, Typecasting, and Jewish Women 67
10. Chapter 4. Jewish Comedians beyond Lubitsch: Siegfried Arno in Film and Cabaret 88
11. Chapter 5. Alfred Rosenthal’s Rhetoric of Collaboration, the Politics of Jewish Visibility, and Jewish Weimar Film Print Culture 111
12. PART II CODING AND DECODING JEWISH DIFFERENCE
13. Chapter 6. Two Worlds, Three Friends, and the Mysterious Seven-Branched Candelabrum: Jewish Filmmaking in Weimar Germany 129
14. Chapter 7. Homosexual Emancipation, Queer Masculinity, and Jewish Difference in Anders als die Andern (1919) 152 Valerie Weinstein 152
15. Chapter 8. Der Film ohne Juden: G.W. Pabst’s Die freudlose Gasse (1925) 178
16. Chapter 9. “The World Is Funny, Like a Dream”: Franziska Gaal’s Verwechslungskomödien and Exile’s Crisis of Identity 196
17. PART III JEWISHNESS AS ANTISEMITIC CONSTRUCT
18. Chapter 10. Cinematically Transmitted Disease: Weimar’s Perpetuation of the Jewish Syphilis Conspiracy 213
19. Chapter 11. The Einstein Film: Animation, Relativity, and the Charge of “Jewish Science” 237
20. Chapter 12. “A Clarion Call to Strike Back”: Antisemitism and Ludwig Berger’s Der Meister von Nürnberg (1927) 257
21. Chapter 13. Banning Jewishness: Stefan Zweig, Robert Siodmak, and the Nazis 278
22. Chapter 14. Detoxification: Nazi Remakes of E.A. Dupont’s Blockbusters 300
23. CODA
24. Chapter 15. “Filmrettung: Save the Past for the Future!”: Film Restoration and Jewishness in German and Austrian Silent Cinema 325
25. AFTERWORD 338
26. INDEX 342