21. Michel Chion, Audio-Vision: Sound on Screen, ed. and trans. Claudia Gorbman (New York: Columbia University Press, 1994), 93 –94.
22. Goebbels, “Rede bei der ersten Jahrestagung der Reichsfilmkammer am 5.3.1937 in der Krolloper, Berlin,” reprinted in Gerd Albrecht, Nationalsozialistische Filmpolitik (Stuttgart: Enke, 1969), 461. Goebbels’s Krolloper speech recycled crucial sections of Goebbels’s 1929 expressionist novel Michael, in which the relation of politics and art is defined as follows: Art is an expression of feeling. The artist differs from the non-artist in his ability to express what he feels. In some form or other. One artist does it in painting, another in clay, a third in words, and a fourth in marble—
or even in historical forms. The statesman is also an artist. For him, the nation is exactly what the stone is for the sculptor. Führer and masses, that is as little of a problem as, say, painter and color. (Joseph Goebbels, Michael: A Novel, trans. Joachim Neugroschel [New York: Amok Press, 1987], 14)
23. Alain Silver and Elizabeth Ward, eds., Film Noir (London: Secker and Warburg, 1980), 226.
24. Walt. [pseudo.], “Phantom Lady,” Variety, January 26, 1944. Phantom Lady—not least of all thanks to its acoustical qualities—was broadcast as a radio play on March 27, 1944, in the series Radio Lux Theatre.
25. Walter Benjamin, Illuminations: Essays and Reflections, trans. Harry Zohn (New York: Schocken, 1969), 223.
26. Heide Schlüpmann, “Faschistische Trugbilder weiblicher Autonomie,”
Frauen und Film 44/45 (1988): 58.
27. Ernst Krieck, Volk im Werden (Oldenburg: Stalling, 1932), 53.
28. Ibid., 54.
29. Chion, Audio-Vision, 76.
30. “There is always something uncanny about a voice which emanates from
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a source outside the frame” (Mary Ann Doane, “The Voice and the Cinema: The Articulation of Body and Space,” in Film Sound: Theory and Practice, ed. Elisabeth Weis and John Belton [New York: Columbia University Press, 1985], 167).
31. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988), 52.
32. Walter Ong, Orality and Literacy: The Technologizing of the Word (London: Routledge, 1982), 78 –138.
33. Amy Lawrence, Echo and Narcissus: Women’ s Voices in Classical Hollywood Cinema (Berkeley: University of California Press, 1991), 132.
34. Silverman, The Acoustic Mirror, 53.
35. Ibid., 39.
36. Lawrence, Echo and Narcissus, 115–116.
37. T. M. P., “At the Palace: The Spiral Staircase, ” New York Times, February 7, 1946.
38. Prümm, “Universeller Erzähler,” 169.
39. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1984), 117.
40. Mary Ann Doane, The Desire to Desire: The Woman’ s Film of the 1940s (Bloomington: Indiana University Press, 1987).
41. Ethel Lina White, Some Must Watch (New York: Harper, 1941), 11.
42. Patrice Petro, Joyless Streets: Women and Melodramatic Representation in Weimar Germany (Princeton: Princeton University Press, 1989), 8.
43. Silverman, The Acoustic Mirror, 24.
44. “The New Pictures,” Time, February 4, 1946.
45. “Die Wendeltreppe: Kriminalfilm in den Kronenlichtspielen,” Die Welt, January 6, 1948.
46. “Oma auf der Wendeltreppe,” Der Abend, January 6, 1948; “Die Wendeltreppe,” Der Tagesspiegel, January 7, 1948.
47. “Die Wendeltreppe,” Filmdienst der Jugend, May 18, 1948.
48. “Die Wendeltreppe,” Evangelischer Film-Beobachter, May 2, 1949.
49. Hans Ulrich Eylau, “Filmexport und Kunstgeschäft: Gedanken anläßlich der ‘Wendeltreppe,’” Tägliche Rundschau Berlin, January 15, 1948.
50. Prümm, “Universeller Erzähler,” 63.
51. Ursula Hardt, From Caligari to California: Erich Pommer’ s Life in the International Film Wars (Providence: Berghahn, 1996).
52. Hellmuth Karasek, Billy Wilder: Eine Nahaufnahme, 3d ed. (Munich: Heyne, 1995), 303 –323.
53. In 1946 the American trade paper Film Daily aptly described the multiple functions of postwar U.S. media policy as a concerted effort to “integrate the German and Austrian film industries, . . . purge both pro-Nazi and pro-Communist personnel, . . . build strong pro-American sentiment . . . and open up the German market, potentially Europe’s greatest, to American products”
