69. Jeffrey Herf, Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich (Cambridge: Cambridge University Press, 1984), 152 –216.
70. Ibid., 188.
71. Alice Yaeger Kaplan, Reproductions of Banality: Fascism, Literature, and French Intellectual Life (Minneapolis: University of Minnesota Press, 1986), 30.
72. Oskar Kalbus, Vom Werden deutscher Filmkunst (Altona-Bahrenfeld: Cigaretten-Bilderdienst, 1935), 2:110.
73. The song, composed by Peter Kreuder, was a “rhythmically explosive American-style hit song,” according to Deutsche Filmzeitung, March 19, 1939.
It became enormously successful as a separate record.
74. Peter Schwenger has analyzed the role of tough, masculine talk in great detail in Phallic Critiques: Masculinity and Twentieth-Century Literature (London: Routledge and Kegan Paul, 1984).
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75. “Bummel durch die Main-Street einer Kolonisten-Stadt: Kanada ob der Isar,” Der Film, December 17, 1938.
76. Joseph Goebbels, “Rede zur Eröffnung der Automobilaustellung, Berlin, Februar 1939,” qtd. in Leonardo Quaresima, “Der Film im Dritten Reich: Moderne, Amerikanismus, Unterhaltungsfilm,” montage/av 3, no. 2 (1994): 10.
77. For critical examinations of Nazi experiments with television see Heiko Zeutschner, Die braune Mattscheibe: Fernsehen im Nationalsozialismus (Hamburg: Rotbuch, 1995), 91; Erwin Reiss, ‘Wir senden Frohsinn’: Fernsehen un-term Faschismus (Berlin: Elefanten, 1979); Siegfried Zielinski, Audiovisionen: Kino und Fernsehen als Zwischenspiele in der Geschichte (Reinbek: Rowohlt, 1989), 98 –174; and William Uricchio, ed., Die Anfänge des deutschen Fernsehens: Kritische Annäherungen an die Entwicklung bis 1945 (Tübingen: Nie-meyer, 1991).
78. “‘Wasser für Canitoga’ im Fernsehsender,” Licht-Bild-Bühne, March 17, 1939.
79. “Hans Albers über seine kommenden Filme,” Film-Kurier, December 15, 1938.
80. See, esp., Giselher Wirsing, Der maßlose Kontinent: Roosevelts Kampf um die Weltherrschaft (Jena: Diederichs, 1942), 30 – 49.
81. David A. Cook, A History of Narrative Film (New York: Norton, 1981), 264.
82. On the postwar history of western fantasies in Germany see Gerd Gemünden, Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian Imagination (Ann Arbor: University of Michigan Press, 1998), 108 –132; and Katrin Sieg, “Ethnic Drag and National Identity: Multicultural Crises, Crossings, and Interventions,” in The Imperialist Imagination: German Colonialism and Its Legacy, ed. Sara Friedrichsmeyer, Sara Lennox, and Susanne Zantop (Ann Arbor: University of Michigan Press, 1998), 295–320.
83. Michael Geyer, “The State in National Socialist Germany,” Statemak-ing and Social Movements: Essays in History and Theory, ed. Charles Bright and Susan Harding (Ann Arbor: University of Michigan Press, 1984), 210.
84. Ian Kershaw, The “Hitler Myth”: Image and Reality in the Third Reich (Oxford: Oxford University Press, 1987).
85. See Joseph Goebbels, “Rede vor den Filmschaffenden am 28.2.1942 in Berlin,” reprinted in Albrecht, Nationalsozialistische Filmpolitik, 493.
86. Ibid., 488.
87. Jan-Christopher Horak, Anti-Nazi-Filme der deutschsprachigen Emigration von Hollywood, 1939 –1945, 2d ed. (Münster: MAkS Publikationen, 1985), 54.
c h a p t e r 5 . wa g n e r at wa r n e r ’s 1. Qtd. in Margaret Farrand Thorp, America at the Movies (New Haven, Conn.: Yale University Press, 1939), 274.
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2. David Cook, A History of Narrative Film (New York: Norton, 1981), 308.
3. “The Production Code,” reprinted in Movies and Mass Culture, ed. John Belton (New Brunswick, N.J.: Rutgers University Press, 1996), 141.
4. Ibid.
5. See Jan-Christopher Horak, Anti-Nazi-Filme der deutschsprachigen Emigration von Hollywood, 1939 –1945, 2d. ed. (Münster: MAkS Publikationen, 1985) ; Jan-Christopher Horak, Fluchtpunkt Hollywood: Eine Dokumentation zur Filmemigration nach 1933 (Münster: MAkS Publikationen, 1985); Jan-Christopher Horak, “Exilfilm, 1933 –1945: In der Fremde,” Geschichte des deutschen Films, ed. Wolfgang Jacobsen, Anton Kaes, and Hans Helmut Prinzler (Stuttgart: Metzler, 1993), 101–118. See also Clayton R.
Koppes and Gregory D. Black, Hollywood Goes to War: How Politics, Profits, and Propaganda Shaped World War II Movies (New York: Free Press, 1987); and Thomas Doherty, Projections of War: Hollywood, American Culture, and World War II (New York: Columbia University Press, 1993).
6. “The classical Hollywood film,” writes David Bordwell, “presents psychologically defined individuals who struggle to solve a clear-cut problem or to attain specific goals. In the course of this struggle, the characters enter into conflict with others or with external circumstances. The story ends with a decisive victory or defeat. . . . The principal causal agency is thus the character, a distinctive individual endowed with an evident, consistent batch of traits, qualities, and behaviors” (David Bordwell, “Classical Hollywood Cinema: Narrational Principles and Procedures,” in Narrative, Apparatus, Ideology, ed. Philip Rosen [New York: Columbia University Press, 1986], 18).
7. On the Sonderweg thesis see David Blackbourn and Geoff Eley, The Peculiarities of German History: Bourgeois Society and Politics in Nineteenth-Century Germany (Oxford: Oxford University Press, 1984).
8. Umberto Eco, “Ur-Fascism,” New York Review of Books, June 22, 1995, 12 –15.
9. Andreas Huyssen, “Adorno in Reverse: From Hollywood to Richard Wagner,” in After the Great Divide: Modernism, Mass Culture, Postmodernism, by Andreas Huyssen (Bloomington: Indiana University Press, 1986), 34 – 42.
10. Walter Benjamin, Gesammelte Schriften, ed. Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt /M.: Suhrkamp, 1985), 6:103.
11. Warren Susman, Culture as History: The Transformation of American Society in the Twentieth Century (New York: Pantheon Books, 1984), 159.
