Chapters in this book

1. Frontmatter I
2. CONTENTS V
3. List of Illustrations VIII
4. Acknowledgments X
5. Foreword. A Grandson Remembers XI
6. Introduction 1
7. Part I. Wilhelm Thiele’s Early Career
8. Chapter 1. Toward Thiele: A Director in the Making, 1920–1928 25
9. Chapter 2. Across Studio Borders: From Hurra, ich lebe (1928) to The Ghost Comes Home (1940) 47
10. Chapter 3. Modeling Female Agency: Wilhelm Thiele’s Adieu Mascotte (1929) 67
11. Part II. Thiele in Europe’s Sound Film Babel, 1929–1933
12. Chapter 4. From Liebeswalzer (1930) to Die Drei von der Tankstelle (1930): Wilhelm Thiele and the Formation of the UFA Sound Film Operetta 87
13. Chapter 5. “Why Settle So Low?”: Fantasies of Female Self-Fulfillment in Wilhelm Thiele’s Die Privatsekretärin (1931) 102
14. Chapter 6. “Greater Success Than Ever Before in Your New Workshop”: Wilhelm Thiele in Britain 116
15. Chapter 7. “Fate Goes Like This, and Everything’s Gone”: Großfürstin Alexandra (1933), Exile, and Renunciation 131
16. Part III. Thiele in Hollywood, 1935–1946
17. Chapter 8. Embracing the Off-White: Race and Sex in William Thiele’s Jungle Princess (1936) 149
18. Chapter 9. Times of Adjustment: Celebrated Innocence and Mass Production in Beg, Borrow, or Steal (1937), Bridal Suite (1939), and Bad Little Angel (1940) 170
19. Chapter 10. Me Thiele, You Tarzan 184
20. Chapter 11. Forgotten Noir: The Madonna’s Secret (1946) 199
21. Part IV. American Television and Postwar Germany, 1949–1960
22. Chapter 12. William Thiele at Apex 213
23. Chapter 13. The Misfits Make America: William Thiele’s The Lone Ranger Episodes 237
24. Chapter 14. William Thiele’s Last Hurrah: Der letzte Fußgänger (1960) and Sabine und die 100 Männer (1960) 257
25. Conclusion 275
26. Part V. Coda
27. Appendix I. In His Brother’s Shadow: The Cinema of Eugen Thiele 283
28. Appendix II. Interview with William and Barbara Thiele, 10 June 1975 291
29. Appendix III. Thiele’s Filmography 310
30. Index 341