Wenders, Wim, 226, 264, 265, 268 –
218; Bernhardt’s use of, 236, 237,
70
240 – 47, 250 –51, 255, 257; Chap-
westerns, 98, 100 –114, 204; adult,
lin’s appropriation of, 140 – 42; and
219, 227; dialogue in, 111–14; guns
Goebbels’s cinematic agenda, 40,
in, 109 –11, 113; music in, 115–17,
45, 94; and Hollywood film music,
121–25, 129; novels, 102 – 4; tech-
146 –55, 278n41; Liebeneiner on,
nology and, 125, 127 –31; warfare
41– 42, 44; linguistic theories of, 35;
and, 132 –34; Weimar, 103, 105–
Opera and Drama, 152; “Religion
8. See also titles of specific films
and Art,” 215; Ring of the Nibelung,
Western Union, 219
121, 244, 301n24; Sirk’s melodramas
Westfront, 50
influenced by, 204, 214 –15, 229;
White, Ethel Lina, 184, 186
utopianism of, 6, 9, 37, 40, 153, 263;
widescreen cinema, 168, 203, 235–37,
westerns influenced by, 103, 108,
245, 248 –53
120 –25
Wiene, Robert, 178
11-C2205-IX 8/17/02 3:39 PM Page 322
322
/
Index
Wilder, Billy, 142, 157, 166, 181, 183,
Wortmann, Sönke, 267
195, 196, 203, 216
Written on the Wind, 230
Wilson, George. 158 –59, 161
Wunder der Heliane, Das (The miracle Windt, Herbert, 38, 122 –23
of Heliane) (Korngold), 151
