49. Georg Seeßlen, “Zarah Leander,” CineGraph: Lexikon zum deutschsprachigen Film, ed. Hans-Michael Bock (Munich: Edition Text und Kritik, 1984 – ), E3.
50. John Fiske, Understanding Popular Culture (London: Routledge, 1989), 143.
51. Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, Mass.: Harvard University Press, 1991), 246.
52. Hugo Zehder, “Autor und Regisseur,” Filmtechnik, August 3, 1929, 319.
53. Jon Halliday, Sirk on Sirk: Conversations with Jon Halliday, rev. ed.
(London: Faber and Faber, 1997), 45.
54. Film-Kurier, September 1, 1937.
55. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess, 2d ed. (New Haven, Conn.: Yale University Press, 1995), 21–22.
56. Gertrud Koch, “Von Detlef Sierck zu Douglas Sirk,” Frauen und Film 44/45 (1988): 109 –129.
57. Ibid., 116.
58. Horkheimer and Adorno, Dialectic of Enlightenment, 123.
59. Ibid., 135.
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288
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Notes to Pages 93 –103
60. Peter Uwe Hohendahl, Prismatic Thought: Theodor W. Adorno (Lincoln: University of Nebraska Press, 1995), 146 –147.
61. Rentschler, Ministry of Illusion, 144.
62. For a recent version of this argument see Linda Schulte-Sasse, “Douglas Sirk’s Schlussakkord and the Question of Aesthetic Resistance,” Germanic Review 73, no. 1 (1998): 2 –31.
63. Walter Benjamin, Illuminations: Essays and Reflections, trans. Harry Zohn (New York: Schocken, 1969), 241–242.
64. Patrice Petro, Joyless Streets: Women and Melodramatic Representation in Weimar Germany (Princeton: Princeton University Press, 1989).
65. Ibid., 67.
66. Umberto Eco, “Ur-Fascism,” New York Review of Books, June 22, 1995, 13.
67. Der Film, September 4, 1937.
68. Wirtschaftspost, December 21, 1937.
c h a p t e r 4 . s i e g f r i e d r i d e s a g a i n 1. Klaus Kreimeier, “Von Henny Porten zu Zarah Leander. Filmgenres und Genrefilm in der Weimarer Republik und im Nationalsozialismus,” montage/
av 3, no. 2 (1994): 45.
2. For landmark texts on the theory and practice of film genres see Barry K.
Grant, ed., Film Genre Reader II (Austin: University of Texas Press, 1995); Stephen Neale, Genre (London: BFI, 1980); Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: McGraw-Hill, 1981); and Rick Altman, Film/Genre (London: BFI, 1999).
3. John Fiske, Understanding Popular Culture (London: Routledge, 1989), 23.
4. Eric Rentschler, The Ministry of Illusion: Nazi Cinema and Its Afterlife (Cambridge, Mass.: Harvard University Press, 1996), 19.
5. Christopher Frayling, Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone (London: Routledge and Kegan Paul, 1981), 105.
6. A. J. P. Taylor, Observer, June 12, 1977; cited in Frayling, Spaghetti Westerns, 105.
7. Klaus Mann, “Cowboy Mentor of the Führer,” Living Age, November 1940, 217.
8. Ibid., 218.
9. On the early history of western films in Germany see Deniz Göktürk, Künstler, Cowboys, Ingenieure . . . Kultur- und mediengeschichtliche Studien zu deutschen Amerika-Texten, 1912 –1920 (Munich: Fink, 1998), 157 –204.
10. For a critical examination of the concept of “Heimat” see Celia Apple-gate, A Nation of Provincials: The German Idea of Heimat (Berkeley: University of California Press, 1990).
11. Joshua Taylor, America as Art (Washington, D.C.: Smithsonian Institution Press, 1976), 171.
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Notes to Pages 104 –111
