Verhoeven, Paul, 100
Weber, Carl Maria von, 122
verlorene Sohn, Der, 32, 40
Weber, Max, 156
Versailles Treaty, 115, 134
Weigel, Helene, 145
Verwehte Spuren, 40
Weihmayr, Franz, 89
Vilsmaier, Joseph, 267 – 69
Weill, Kurt, 220
Vista Vision, 235
Weimar period, 158, 169, 174, 194,
vitalism, 184, 187 –90, 192
196, 220, 228, 259, 264, 275n20; ex-
voices, 88 – 89; female, 77, 79, 82 – 84,
pressionism of, 3, 13, 15, 166, 167,
92, 241– 42; in film noir, 175–77,
175, 199; Far West images of, 103,
179, 180 – 84; in Nazi cinema, 32 –
105– 8; fascination with America
34, 36, 61; of western heroes, 113
of, 65, 70, 72, 132; genre films of,
Volksempflänger, 83
99, 117; and introduction of sound,
Voruntersuchung (Preliminary inves-
28 –30; melodrama of, 95; in post-
tigation), 169
unification films, 267; science fic-
tion of, 61; theater during, 248
Wagner, Fritz Arno, 50
Weise von Lowood, Die (The orphan
Wagner, Richard, 11, 25, 18 –19, 43,
from Lowood), 68
96, 160, 168, 172, 236, 237, 260,
Welles, Orson, 157, 183
280n63; Adorno on, 9, 10, 37 –38,
Welsch, Howard, 223, 302n26
46, 47, 123; aesthetic visions of,
Welt, Die, 193
94; at Bayreuth festival, 210, 214,
