(Debord’s italics).
17. For a very detailed sequence description see Grosz, “The First Legion,”
115.
18. Halliday, Sirk on Sirk, 110.
19. Richard Wagner, “Religion and Art,” in Prose Works, trans. William Ashton Ellis (1897; reprint, New York: Broude Brothers, 1966), 6:213.
20. Richard K. Lieberman, Steinway and Sons (New Haven, Conn.: Yale University Press, 1995), 241–242.
21. Arthur Loesser, Men, Women, and Pianos: A Social History (London: Gollancz, 1955), 613.
22. “In every sizable American city the mid-century German musicians persisted in their missionary work and soon converted many an exceptional American of the older stock to the enjoyment of the greater instrumental literature, to the gospel according to the Saints Beethoven and Mozart and Saints Schumann, Chopin, and Mendelssohn” (Loesser, Men, Women, and Pianos, 537).
23. On Dietrich’s masochist screen personae see Gaylyn Studlar, In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic (New York: Columbia University Press, 1988).
24. Lang’s preoccupation with the western reached back to his tenure at UFA in the 1920s. In the second part of The Nibelungen (1924 –1925) Lang for instance pictured Attila’s Huns as if borrowed directly from Hollywood frontier features: their tents look like Indian tepees; their hairdos and makeup resemble those conventionally reserved for Native Americans. Lang’s personal
10-C2205-END 8/17/02 3:39 PM Page 302
302
/
Notes to Pages 220 –226
library, as Patrick McGilligan details, included a great number of well-thumbed western novels by Max Brand, Eugene Cunningham, Zane Grey, and Ernest Haycox. See Patrick McGilligan, Fritz Lang: The Nature of the Beast (New York: St. Martin’s, 1997), 383.
25. Schatz, Boom and Bust, 371.
26. Produced by Fidelity Pictures, a subdivision of Howard Hughes’s RKO, the final cut of Rancho Notorious clearly diverged from Lang’s original designs.
Irritated by Lang’s personal and professional agendas, producer Howard Welsch banned his director from the editing room and recut the film according to more conventional expectations. Welsch slimmed down the film from 105 to 89 minutes, reconfigured the ending, and changed the project title from “Chuck-a-Luck” to Rancho Notorious.
27. Bertolt Brecht, Arbeitsjournal, ed. Werner Hecht (Frankfurt /M.: Suhrkamp, 1973), 1:291.
28. For more on the polyphonic texture of Kuhle Wampe see Bruce A.
Murray, Film and the German Left in the Weimar Republic: From “Caligari”
to “Kuhle Wampe” (Austin: University of Texas Press, 1990); and Marc Silberman, German Cinema: Texts in Contexts (Detroit: Wayne State University Press, 1995), 34 – 48.
29. Theodor Adorno and Hanns Eisler, Composing for the Films (London: Athlone Press, 1994), 25.
30. For more on the politics of corporeality and representation in Hangmen Also Die, see Jean Louis Comolli and Francois Géré, “Two Fictions Concerning Hate,” Fritz Lang: The Image and the Look, ed. Stephen Jenkins (London: BFI, 1981) 125–146.
31. Sergei Eisenstein, Film Form: Essays in Film Theory, ed. and trans. Jay Leyda (San Diego: Harcourt Brace Jovanovich, 1977), 257 –260.
32. Adorno and Eisler, Composing for the Films, 78 –79.
33. See Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984). For a critique of Bürger’s model see Russell A. Berman, Modern Culture and Critical Theory: Art, Politics, and the Legacy of the Frankfurt School (Madison: University of Wisconsin Press, 1989), 42 –53; Franz Dröge and Michael Müller, Die Macht der Schönheit: Avantgarde und Faschismus oder Die Geburt der Massenkultur (Hamburg: Europäische Verlagsanstalt, 1995); and Lutz Koepnick, Walter Benjamin and the Aesthetics of Power (Lincoln: University of Nebraska Press, 1999), 1–26.
34. Martin Jay, Cultural Semantics: Keywords of Our Time (Amherst: University of Massachusetts Press, 1998), 93.
35. Michel Chion, Audio-Vision: Sound on Screen, ed. and trans. Claudia Gorbman (New York: Columbia University Press, 1994), 38.
36. Gerd Gemünden, Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian Imagination (Ann Arbor: University of Michigan Press, 1998), 14. For more on the figure of America in German literature see Sigrid Bauschinger, Horst Denkler, and Wilfried Malsch,
10-C2205-END 8/17/02 3:39 PM Page 303
Notes to Pages 227–230
/
303
eds., Amerika in der deutschen Literatur: Neue Welt— Nordamerika— USA (Stuttgart: Reclam, 1975); Manfred Durzak, Das Amerikabild in der deutschen Gegenwartsliteratur (Stuttgart: Kohlhammer, 1979); Heinz D. Osterle, ed., Amerika! New Images in German Literature (New York: Lang, 1989); and Dan Diner, America in the Eyes of the Germans: An Essay on Anti-Americanism, trans. Allison Brown (Princeton: Markus Wiener Publishers, 1996).
37. Reinhold Wagnleiter, Coca-Colonization and the Cold War: The Cultural Mission of the United States in Austria after the Second World War, trans. Diana M. Wolf (Chapel Hill: University of North Carolina Press, 1994).
See also Ralph Willet, The Americanization of Germany, 1945 –1949 (London: Routledge, 1989); and Reiner Pommerin, ed., The American Impact on Postwar Germany (Providence: Berghahn, 1995).
38. Joseph Garncarz, “Hollywood in Germany: The Role of American Films in Germany, 1925–1990,” in Hollywood in Europe: Experiences of a Cultural Hegemony, ed. David W. Ellwood and Rob Kroes (Amsterdam: VU University Press, 1994), 124 –125.
39. For more on “Altar” see Steven Bach, Marlene Dietrich: Life and Legend (New York: Morrow, 1992), 354.
40. Wolf, “Die Gejagten,” Abendzeitung, October 6, 1960.
