Avid Media Composer: five elements. Screenshot. Four vintage sources of The Ancient Law are displayed here in rows: yellow for the Swedish version, red for the Russian version, blue for the Belgian/French version; and green for the Italian version. Purple designates the previous 1984 analog restoration.
Avid Media Composer: composite edit. Screenshot. The composite edit at the end of Act 1 of The Ancient Law shows material from all four vintage sources and, because the available nitrate footage had disintegrated in some places, a rescan of those frames from the 1984 restoration, colored pink.
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Rethinking Jewishness in Weimar Cinema
Edited by Barbara Hales and Valerie Weinstein
388 pages, 19 illus., bibliog., index
ISBN 978-1-78920-872-6 $145.00/£107.00 Hb Not Yet Published (November 2020)
eISBN 978-1-78920-873-3 eBook Not Yet Published
“An important contribution to an understanding of filmmaking in Germany during the Weimar Republic. This volume offers a multi-faceted, in-depth investigation into the Jewish presence in Weimar cinema both on screen, in various genres, and off screen through biographical sketches and film reviews.” • Barbara Kosta, University of Arizona
“Rethinking Jewishness in Weimar Film makes a significant and welcome contribution to the study of Weimar film, to German film studies in general, and to German Jewish studies. It presents detailed research and analysis of important Weimar films, artists, and critics; most of them have not been examined in much detail by other scholars, and when they have been, they have rarely been analyzed in relation to Jewishness, a concept that this volume explores in a very nuanced manner.” • Rick McCormick, University of Minnesota
The burgeoning film industry in the Weimar Republic was, among other things, a major site of German-Jewish experience, one that provided a sphere for Jewish “outsiders” to shape mainstream culture. The chapters collected in this volume deploy new historical, theoretical, and methodological approaches to understanding the significant involvement of German Jews in Weimar cinema. Reflecting upon different conceptions of Jewishness – as religion, ethnicity, social role, cultural code, or text – these studies offer a wide-ranging exploration of an often overlooked aspect of German film history.
Barbara Hales is an Associate Professor of History and Humanities at the University of Houston-Clear Lake. Her publications focus on film history of the Weimar Republic and the Third Reich. She is the author of Black Magic Woman: Gender and the Occult in Weimar Germany (Peter Lang, Oxford, forthcoming). She has also co-edited a volume entitled Continuity and Crisis in German Cinema 1928-1936 for Camden House in 2016 (with Mihaela Petrescu and Valerie Weinstein). Dr. Hales is President of the Houston based organization, Center for Medicine After the Holocaust.
Valerie Weinstein is Associate Professor of Women’s, Gender, and Sexuality Studies, Niehoff Professor in Film and Media Studies, and affiliate faculty in German Studies and Judaic Studies at the University of Cincinnati. She is the author of Antisemitism in Film Comedy in Nazi Germany (Indiana University Press, 2019) and numerous articles on Weimar and Nazi cinema. She is co-editor, with Barbara Hales and Mihaela Petrescu, of Continuity and Crisis in German Cinema 1928-1936 (Camden House, 2016).
Subject: Film and Television Studies Jewish Studies History: 20th Century to Present
List of Illustrations
List of Contributors
Introduction: The Jewishness of Weimar Cinema
Barbara Hales and Valerie Weinstein
Part I: Jewish Visibility On and Off Screen
Chapter 1. Humanizing Shylock: The “Jewish Type” in Weimar Film
Chapter 2. Energizing the Dramaturgy: How Jewishness Shaped Alexander Granach’s Performances in Weimar Cinema
Chapter 3. The Jewish Vamp of Berlin: Actress Maria Orska, Typecasting, and Jewish Women
Chapter 4. Jewish Comedians beyond Lubitsch: Siegfried Arno in Film and Cabaret
Chapter 5. Alfred Rosenthal’s Rhetoric of Collaboration, the Politics of Jewish Visibility, and Jewish Weimar Film Print Culture
Part II: Coding and Decoding Jewish Difference
Chapter 6. Two Worlds, Three Friends, and the Mysterious Seven-Branched Candelabrum: Jewish Filmmaking in Weimar Germany
Chapter 7. Homosexual Emancipation, Queer Masculinity, and Jewish Difference in Anders als die Andern (1919)
Chapter 8. Der Film ohne Juden: G.W. Pabst’s Die freudlose Gasse (1925)
Chapter 9. “The World is Funny, Like a Dream:” Franziska Gaal’s Verwechslungskomödien and Exile’s Crisis of Identity
Anjeana K. Hans
Part III: Jewishness as Antisemitic Construct
Chapter 10. Cinematically Transmitted Disease: Weimar’s Perpetuation of the Jewish Syphilis Conspiracy
Chapter 11. The Einstein Film: Animation, Relativity, and the Charge of “Jewish Science”
Chapter 12. “A Clarion Call to Strike Back”: Antisemitism and Ludwig Berger's Der Meister von Nürnberg (1927)
Chapter 13. Banning Jewishness: Stefan Zweig, Robert Siodmak, and the Nazis
Chapter 14. Detoxification: Nazi Remakes of E. A. Dupont’s Blockbusters
Chapter 15. “Filmrettung: Save the Past for the Future!”: Film Restoration and Jewishness in German and Austrian Silent Cinema
Barbara Hales and Valerie Weinstein
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