41. Ibid.
42. Heide Fehrenbach, Cinema in Democratizing Germany: Reconstructing National Identity after Hitler (Chapel Hill: University of North Carolina Press, 1995), 255.
43. On Lang’s use of allegory see Tom Gunning, The Films of Fritz Lang: Allegories of Vision and Modernity (London: BFI, 2000), 1–11.
44. L. L. Matthias, Die Entdeckung Amerikas Anno 1953, oder Das geord-nete Chaos (Hamburg: Rowohlt, 1953), 120 –121.
45. Martin Ruppert, “Die erste Legion,” Frankfurter Allgemeine Zeitung, January 14, 1956.
46. Jeanette Meith, “Neuer Film: ‘Die Beichte eines Arztes,’” Abendpost, January 17, 1956.
47. Gerhard Bliersbach, So grün war die Heide . . . Die gar nicht so heile Welt im Nachkriegsfilm (Weinheim: Beltz, 1989), 111–140.
48. Ruppert, “Die erste Legion.”
49. Thomas Elsaesser, Fassbinder’ s Germany: History, Identity, Subject (Amsterdam: Amsterdam University Press, 1996), 58. For Sirk’s influence on Fassbinder see Judith Mayne, “Fassbinder and Spectatorship,” in New German Critique 12 (fall 1977): 61–74; Andrew Sarris, “Fassbinder and Sirk: The Ties That Unbind,” Village Voice, September 3, 1980; Eric Rentschler, West German Film in the Course of Time (Bedford Hills: Redgrave, 1984), 191–202; Timothy Corrigan, New German Film: The Displaced Image, rev. ed. (Bloomington: Indiana University Press, 1994), 33 –54; Gemünden, Framed Visions, 89 –107; and, of course, Rainer Werner Fassbinder, “Six Films by Douglas Sirk,”
in Douglas Sirk, ed. Laura Mulvey and Jon Halliday (Edinburgh: Edinburgh Film Festival, 1972), 95–107.
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Notes to Pages 231–242
50. Barbara Klinger, Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Bloomington: Indiana University Press, 1994), 66 – 67.
51. For a more recent version of this argument see Amy Lawrence, “Trapped in a Tomb of Their Own Making: Max Ophuls’s The Reckless Moment and Douglas Sirk’s There’ s Always Tomorrow, ” Film Criticism 23, nos. 2 –3 (winter/
spring 1999): 150 –166.
52. Theodor W. Adorno, Aesthetic Theory, trans. C. Lenhard (London: Routledge and Kegan Paul, 1984), 18.
c h a p t e r 8 . i s o l d e r e s u r r e c t e d 1. Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986), 16.
2. “$30 Billion for Fun,” The Changing American Market (New York: Fortune, 1955); qtd. in John Belton, Widescreen Cinema (Cambridge, Mass.: Harvard University Press, 1992), 77.
3. Belton, Widescreen Cinema, 84.
4. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, N.Y.: Cornell University Press, 1981), 218.
5. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, N.C.: Duke University Press, 1991).
6. Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment, trans. John Cumming (New York: Continuum, 1995), 135.
7. See Marjorie Lawrence, Interrupted Melody (New York: Appleton, 1949).
8. Norbert Grob, “Interrupted Melody,” in Aufruhr der Gefühle: Die Kinowelt des Curtis Bernhardt, ed. Helga Belach, Gero Gandert, and Hans Helmut Prinzler (Munich: Bucher, 1982), 215.
9. Belton, Widescreen Cinema, 137.
10. On the impact of tape editing and multiple-track recording on postwar music production see Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London: Verso, 1994), 250 –289.
11. “I was a perfect symbol for the two cultures,” Bernhardt recalled in 1977,
“of two differing sensibilities” (Mary Kiersch, Curtis Bernhardt: A Directors Guild of America Oral History [Metuchen, N.J.: Scarecrow Press, 1986], 78).
12. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess, 2d ed. (New Haven, Conn.: Yale University Press, 1995), 41.
13. Kiersch, Curtis Bernhardt, 172.
14. Amy Lawrence, Echo and Narcissus: Women’ s Voices in Classical Hollywood Cinema (Berkeley: University of California Press, 1991), 154.
15. Kiersch, Curtis Bernhardt, 173.
16. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988), 1.
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17. Carl Dahlhaus, Nineteenth-Century Music, trans. Bradford Robinson (Berkeley: University of California Press, 1989), 289.
