(“Pommer to Integrate German, Austrian Pix Trade,” Film Daily, September 6,
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1946; qtd. in Heide Fehrenbach, Cinema in Democratizing Germany: Reconstructing National Identity after Hitler [Chapel Hill: University of North Carolina Press, 1995], 65).
54. Fehrenbach, Cinema in Democratizing Germany, 62.
55. Thomas Elsaesser, “German Postwar Cinema and Hollywood,” in Hollywood in Europe: Experiences of a Cultural Hegemony, ed. David W. Ellwood and Rob Kroes (Amsterdam: VU University Press, 1994), 285–286.
56. See Fehrenbach, Cinema in Democratizing Germany, 92 –117; and Uta G. Poiger, “Rebels with a Cause? American Popular Culture, the 1956 Youth Riots, and the New Conception of Masculinity in East and West Germany,” in The American Impact on Postwar Germany, ed. Reiner Pommerin (Providence: Berghahn, 1995), 93 –124.
57. Eric Rentschler, “Germany: The Past That Would Not Go Away,” in World Cinema since 1945, ed. William Luhr (New York: Ungar, 1987), 215. See also Gerhard Bliersbach, So grün war die Heide . . . Die gar nicht so heile Welt im Nachkriegsfilm (Weinheim: Beltz, 1989).
58. Franziska Violet, “Nachts, wenn der Teufel kam,” Süddeutsche Zeitung, September 24, 1957.
59. Prümm, “Universeller Erzähler,” 173.
60. Kr., “. . . und schon geht uns ein Licht auf: Robert Siodmak spaziert mit uns in den Sonntag zwischen Gedächtniskirche und Halensee,” Der Abend, October 27, 1952.
61. Hans Borgelt, “Der ‘Markenwert des Namens’: Kleines Filmporträt Robert Siodmak,” Der neue Film, August 4, 1955.
62. E. P., “Die Wendeltreppe (The Spiral Staircase),” Filmkritik 6 (June 1959), reprinted in Siodmak Bros.: Berlin— Paris— London— Hollywood, ed.
Wolfgang Jacobsen and Hans Helmut Prinzler (Berlin: Stiftung Deutsche Kinemathek/Argon, 1998), 58.
63. “The Oberhausen Manifesto,” in West German Filmmakers on Film: Visions and Voices, ed. Eric Rentschler (New York: Holmes and Meier, 1988), 2.
c h a p t e r 7 . p i a n o s , p r i e s t s , a n d p o p u l a r c u l t u r e 1. Thomas Schatz, Boom and Bust: The American Cinema in the 1940s (New York: Scribner’s Sons, 1997), 285–352.
2. John Belton, Widescreen Cinema (Cambridge, Mass.: Harvard University Press, 1992), 70.
3. James Agee, Agee on Film (New York: McDowell, Obolensky, 1958), 289 –
290; also qtd. in Schatz, Boom and Bust, 382.
4. See Peter Fritzsche, Germans into Nazis (Cambridge, Mass.: Harvard University Press, 1998).
5. John Belton, introduction to Movies and Mass Culture, ed. John Belton (New Brunswick, N.J.: Rutgers University Press, 1996), 1–22; and Brian Neve, Film and Politics in America: A Social Tradition (London: Routledge, 1992), 28 –55.
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6. Neve, Film and Politics in America, 29. For a comprehensive analysis of the populist legacy see also Richard Hofstadter, The Age of Reform: From Bryan to F. D. R. (New York: Knopf, 1956).
7. Belton, Movies and Mass Culture, 7.
8. R. L. Rutsky, “The Mediation of Technology and Gender: Metropolis, Nazism, Modernism,” in New German Critique 60 (fall 1993): 3 –32.
9. See Russell A. Berman, Enlightenment or Empire: Colonial Discourse in German Culture (Lincoln: University of Nebraska Press, 1998), 66, 104.
10. Susan M. White, The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman (New York: Columbia University Press, 1995), 11.
11. Jon Halliday, Sirk on Sirk: Conversations with Jon Halliday, rev. ed.
(London: Faber and Faber, 1997), 69 –70.
12. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess, 2d ed. (New Haven, Conn.: Yale University Press, 1995).
13. For more on churches in Sirk’s films see Jan-Christopher Horak, “Sirk’s Early Exile Films: Boeffie and Hitler’ s Madman, ” Film Criticism 23, nos. 2 –3
(winter/spring 1999): 122 –135.
14. Halliday, Sirk on Sirk, 95.
15. Dave Grosz, “The First Legion: Vision and Perception in Sirk,” Screen 12, no. 2 (summer 1971): 108 –109.
16. Guy Debord, Society of the Spectacle (Detroit: Black and Red, 1983), 29
