42. Thomas Elsaesser, “Das Vermächtnis des Dr. Caligari: Film noir und deutscher Einfluß,” in Schatten.Exil: Europäische Emigranten im Film noir, ed.
Christian Cargnelli and Michael Omasta (Vienna: PVS Verleger, 1997), 44.
43. George Wilson, Narration in Light (Baltimore: Johns Hopkins University Press, 1986), 135.
44. David Bordwell, “The Bounds of Difference,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, by David Bordwell, Janet Staiger, and Kristin Thompson (New York: Columbia University Press, 1985), 77 –78.
45. David Bordwell, “Art-Cinema Narration,” in Narration in the Fiction Film (Madison: University of Wisconsin Press, 1985), 205–233.
46. Alison Landsberg, “Prosthetic Memory: The Logics and Politics of Memory in Modern American Culture,” Ph.D. diss., University of Chicago, 1996.
47. Robert Burgoyne, Film Nation: Hollywood Looks at U.S. History (Minneapolis: University of Minnesota Press, 1997), 11.
48. Theodor W. Adorno, Minima Moralia: Reflections from Damaged Life, trans. E. F. N. Jephcott (London: New Left Books, 1951), 38 –39.
c h a p t e r 6 . b e r l i n n o i r 1. Thomas Schatz, Boom and Bust: The American Cinema in the 1940s (New York: Scribner’s Sons, 1997), 1.
2. Dana Polan, Power and Paranoia: History, Narrative, and the American Cinema, 1940 –1950 (New York: Columbia University Press, 1986), 75.
3. Ibid., 289.
4. Michel Foucault, “Of Other Spaces,” trans. Jay Miskowiec, Diacritics (spring 1986): 22 –27.
5. Ibid., 24.
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297
6. Paul Jensen, “The Return of Dr. Caligari: Paranoia in Hollywood,” Film Comment 7, no. 4 (winter 1971/72): 36 – 45.
7. Foster Hirsch, The Dark Side of the Screen: Film Noir (New York: Da Capo Press, 1983), 115.
8. Thomas Elsaesser, “Das Vermächtnis des Dr. Caligari: Film noir und deutscher Einfluß,” in Schatten.Exil: Europäische Emigranten im Film noir, ed.
Christian Cargnelli and Michael Omasta (Vienna: PVS Verleger, 1997), 44 –50.
9. Thomas Elsaesser, Weimar Cinema and After: Germany’ s Historical Imaginary (London: Routledge, 2000), 420 – 444.
10. Marc Vernet, “Film Noir on the Edge of Doom,” Shades of Noir: A Reader, ed. Joan Copjec (London: Verso, 1993), 1–32.
11. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, N.Y.: Cornell University Press, 1981), 35– 43.
12. Ibid., 35 (Jameson’s italics).
13. Robert Siodmak, Zwischen Berlin und Hollywood: Erinnerungen eines großen Filmregisseurs, ed. Hans C. Blumenberg (Munich: Herbig, 1980).
14. Cited in Wolfgang Jacobsen, “‘Kann ich mal das Salz haben?’” in Siodmak Bros.: Berlin— Paris— London— Hollywood, ed. Wolfgang Jacobsen and Hans Helmut Prinzler (Berlin: Stiftung Deutsche Kinemathek/Argon, 1998), 28. Siodmak’s skill in overcoming cultural binaries and distinctions was praised already in an American review of his very first film, the groundbreaking Menschen am Sonntag (People on a Sunday, 1929). People on a Sunday, according to the reviewer of the New York Times, offered “a satisfactory compromise between what the few and what almost everybody likes” (“Herr Siodmak,” New York Times, March 16, 1931).
15. Robert Siodmak, “Das bewegte Bild und der Ton,” 8 Uhr-Abendblatt, August 18, 1930.
16. Karl Prümm, “Universeller Erzähler: Realist des Unmittelbaren,” in Siodmak Bros.: Berlin— Paris— London— Hollywood, ed. Wolfgang Jacobsen and Hans Helmut Prinzler (Berlin: Stiftung Deutsche Kinemathek/Argon, 1998), 91.
17. On the sound track as “acoustical panorama” see Martina Müller, “Vom Souffleurkasten über das Mikro auf die Leinwand: Max Ophüls,” Frauen und Film 42 (August 1987): 60 –71. See also Gertrud Koch, “Die masochistische Lust am Verkennen—Zur Rolle der Hörwelt in Letter from an Unknown Woman, ”
in “Was ich erbeute, sind Bilder”: Zum Diskurs der Geschlechter im Film (Basel: Stroemfeld/Roter Stern, 1989), 77 – 82; and Susan M. White, The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman (New York: Columbia University Press, 1995), 129 –224.
18. In the original novel on which Siodmak’s film was based, Cornell Woolrich describes the jamming session as a marijuana-induced spectacle of surreal qualities:
The next two hours were a sort of Dante-esque Inferno. She knew as soon as it was over she wouldn’t believe it had actually been real at all. It wasn’t the music, the music was good. It was the phantasmagoria of their shad-
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ows, looming black, wavering ceiling-high on the walls. It was the actuality of their faces, possessed, demonic, peering out here and there on sudden notes, then seeming to recede again. It was the gin and the marihuana cigarettes, filling the air with haze and flux. It was the wildness that got into them, that at times made her cower into a far corner or climb up on a packing-case with both feet. (Cornell Woolrich [writing as William Irish], Phantom Lady [New York: Ace Books, 1942], 142 –143) Although Siodmak’s mise-en-scène clearly borrows from Woolrich’s hallucina-tory description, any reference to drugs in the film was, of course, excluded by the Hays Office.
19. For more on Kansas see Tony Williams, “Phantom Lady, Cornell Woolrich, and the Masochistic Aesthetic,” in Film Noir Reader, ed. Alain Silver and James Ursini, 5th ed. (New York: Limelight Editions, 1999), 129 –144.
20. David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema (New York: Columbia University Press, 1985), 301.
