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Notes to Pages 70 –74
Labyrinth der Männerängste,” 34 – 40; and Heinz-Gerd Rasner and Reinhard Wulf, “Sehnsucht, Schuld und Einsamkeit. Curtis Bernhardt in Hollywood,”
in Aufruhr der Gefühle, 76 – 80.
45. On the construction of the New York subway see Clifton Hood, 722
Miles: The Building of the Subways and How They Transformed New York (New York: Simon and Schuster, 1993); and Benson Bobrick, Labyrinths of Iron: A History of the World’ s Subways (New York: Newsweek Books, 1982), 195–270.
46. Bobrick, Labyrinths of Iron, 258.
47. Heinrich Fischer, “Der Tunnel,” Die neue Weltbühne 3, no. 1 (1934): 24.
48. Walter Benjamin, Illuminations: Essays and Reflections, trans. Harry Zohn (New York: Schocken, 1969), 241.
c h a p t e r 3 . e n g e n d e r i n g m a s s c u l t u r e 1. Jeffrey Herf, Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich (Cambridge: Cambridge University Press, 1984), 224.
2. See Hans Dieter Schäfer, Das gespaltene Bewußtsein: Deutsche Kultur und Lebenswirklichkeit, 1933 –1945 (Munich: Hanser, 1981); and Hans Dieter Schäfer, “Amerikanismus im Dritten Reich,” in Nationalsozialismus und Modernisierung, ed. Michael Prinz and Rainer Zitelmann (Darmstadt: Wissen-schaftliche Buchgesellschaft, 1991), 199 –215.
3. Theodor W. Adorno, “On Popular Music,” in On Record: Rock, Pop, and the Written Word, ed. Simon Frith and Andrew Goodwin (London: Routledge, 1990), 308.
4. Fredric Jameson, “Reification and Utopia in Mass Culture,” in Signatures of the Visible (New York: Routledge, 1992), 34.
5. Francis Courtade and Pierre Cadars, Geschichte des Films im Dritten Reich (Munich: Heyne, 1975), 28 –29.
6. Victoria de Grazia, “Mass Culture and Sovereignty: The American Challenge to European Cinemas, 1920 –1960,” Journal of Modern History 61
(March 1989): 78.
7. Thomas Elsaesser, “Moderne und Modernisierung: Der deutsche Film der dreißiger Jahre,” montage/av 3, no. 2 (1994): 35.
8. David Bathrick, “Inscribing History, Prohibiting and Producing Desire: Fassbinder’s Lili Marleen, ” New German Critique 63 (fall 1994): 48. On Nazi modernism and film culture see also Elsaesser’s essays “Moderne und Modernisierung”; and “Hollywood Berlin,” Sight and Sound 7, no. 11 (November 1997): 14 –17; and Leonardo Quaresima, “Der Film im Dritten Reich: Moderne, Amerikanismus, Unterhaltungsfilm,” montage/av 3, no. 2 (1994): 5–22.
9. See Hitler’s speech to the Nazi Women Organization during the Party Congress in 1934, reprinted in Ute Benz, ed., Frauen im Nationalsozialismus: Dokumente und Zeugnisse (Munich: Beck, 1993), 41– 45. On women’s role
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during the Third Reich see, e.g., Claudia Koonz, Mothers in the Fatherland: Women, the Family, and Nazi Politics (New York: St. Martin’s, 1987).
10. Karsten Witte, “Visual Pleasure Inhibited: Aspects of the German Revue Film,” New German Critique 24/25 (fall/winter 1981/82): 238 –263.
11. Hans Christoph Worbs, Der Schlager. Bestandsaufnahme, Analyse, Dokumentation (Bremen: Schünemann, 1963), 64.
12. See, e.g., Fritz Hippler’s comments on stars in his Betrachtungen zum Filmschaffen (Berlin: Hesse, 1942), 102 –107; or the ranking of actors according to their achievements as “great artists and creative human beings,” in Film-Kurier, April 25, 1936. On the uneasy but operative relationship between stars and Nazi film theorists see Andrea Winkler, “Starkult auf germanisch: Goebbels und Hippler hielten sich an die Rezepte Hollywoods,” Medium 18, no. 3
(1988): 27 –30; and Andrea Winkler, Starkult als Propagandamittel? Studien zum Unterhaltungsfilm im Dritten Reich (Munich: Ölschläger , 1992).
13. Georg Seeßlen, Tanz den Adolf Hitler: Faschismus in der populären Kultur (Berlin: Edition Tiamat, 1994), 56.
14. See Joseph Goebbels’s “Sieben Film-Thesen” (1935; reprinted in Film und Gesellschaft in Deutschland: Dokumente und Materialien, ed. Wilfried von Bredow and Rolf Zurek [Hamburg: Hoffmann und Campe, 1975], 178 –180).
15. Peter Adam, Art of the Third Reich (New York: Abrams, 1992), 89.
16. See, e.g., Paul Seiler, Ein Mythos lebt: Zarah Leander. Eine Bildbiogra-phie. Zum 10. Todestag (Berlin: published by Paul Seiler, 1994), 28.
17. See Helma Sanders-Brahms, “Zarah,” Jahrbuch Film 81/82, ed. Hans Günther Pflaum (Munich: Hanser, 1981), 165–172; and Rosa von Praunheim,
“Die Baßamsel singt nicht mehr,” Der Spiegel 27, June 19, 1981, 158.
18. For a timely reassessment of Leander’s gay reception see Alice A. Kuzniar, “Zarah Leander and Transgender Specularity,” Film Criticism 23, nos. 2 –
3 (winter/spring 1999): 74 –93.
19. See, esp., Thomas Elsaesser, “Tales of Sound and Fury: Observations on the Family Melodrama,” Monogram 4 (1972): 2 –15; and Paul Willemen, “Distanciation and Douglas Sirk,” Screen 13, no. 4 (1972/73): 128 –134.
20. Jon Halliday, “Notes on Sirk’s German Films,” Douglas Sirk, ed. Laura Mulvey and Jon Halliday (Edinburgh: Edinburgh Film Festival, 1972), 22; Marc Silberman, German Cinema: Texts in Contexts (Detroit: Wayne State University Press, 1995), 51– 65.
21. For a persuasive critique of this scholarship see Barbara Klinger, Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Bloomington: Indiana University Press, 1994).
22. Mary Ann Doane, “The Economy of Desire: The Commodity Form in/of the Cinema,” in Movies and Mass Culture, ed. John Belton (New Brunswick, N.J.: Rutgers University Press, 1996), 128.
