Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS vii
3. List of Illustrations ix
4. Acknowledgments xi
5. Introduction. Dismantling the Dream Factory: Gender and Spectatorship in Postwar German Cinema 1
6. Part I. Relegitimating Cinema: Female Spectators and the Problem of Representation
7. 1 How Do You Solve a Problem Like Susanne?: The Female Gaze in Wolfgang Staudte’s The Murderers Are Among Us (1946) 21
8. 2 When Fantasy Meets Reality: Authorship and Stardom in Rudolf Jugert’s Film Without a Title (1948) 49
9. 3 Gendered Visions of the German Past: Wolfgang Liebeneiner’s Love ’47 (1949) as Woman’s Film 73
10. 4 Unsolved Mysteries: Race, Ethnicity, and Gender in Helmut Käutner’s Epilogue (1950) 101
11. Part II. Art on Film: Representing Gender and Sexuality in Popular Cinema
12. 5 “Through Her Eyes”: Regendering Representation in Willi Forst’s The Sinner (1951) 127
13. 6 Looking at Heimat: Visual Pleasure and Cinematic Realism in Alfons Stummer’s The Forester of the Silver Wood (1955) 161
14. 7 Degenerate Art?: Problems of Gender and Sexuality in Veit Harlan’s Different From You and Me (§175) (1957) 183
15. Part III. Towards the New Wave: Gender and the Critique of Popular Cinema
16. 8 Pleasurable Negotiations: Spectatorship and Genre in Helmut Käutner’s “Anti-Tearjerker” Engagement in Zurich (1957) 209
17. 9 Sound and Spectacle in the Wirtschaftswunder: The Critical Strategies of Rolf Thiele’s The Girl Rosemarie (1958) 235
18. 10 Gender and the New Wave: Herbert Vesely’s The Bread of Those Early Years (1962) as Transitional Film 257
19. Epilogue. Adapting the 1950s: The Afterlife of Postwar Cinema in Post-Unification Popular Culture 279
20. Bibliography 283
21. Index 291