in, 180 – 84. See also titles of spe-
Evangelischer Film-Beobachter, 194, cific films
256
Filmwelt, 82
Everson, William, 114, 290n29
First Legion, The, 204, 207, 209 –18, existentialism, political, 172 –73, 175,
211, 224, 228 –29, 231, 234; Beichte 180, 184
eines Arztes, Die (The confession of expressionism, 2, 10, 15, 114, 161;
a doctor; German language release
doubles in, 13; film noir and, 166,
title), 229
167, 175, 199
Fischer, Heinrich, 71
Eylau, Hans Ulich, 194
Fiske, John, 86, 88
Flinn, Caryl, 147 – 48
Falasca-Zamponi, Simonetta, 46
Flint, Olly von, 62
Fanck, Arnold, 118, 121
Flüchtlinge, 33
Färberböck, Max, 267
folk music, 43; American, 149; Ger-
Farrow, John, 139
man, 42, 123
fascism, 76, 95, 118, 138, 140 – 41,
Fontaine, Joan, 217
207; aesthetics of, 46, 72; cultural
Ford, Glenn, 237, 242
politics of, 94; film noir as challenge
Ford, John, 132, 157, 265
to, 166, 173; historical conditions
Fordist mass culture, 2, 4, 9, 93, 174,
of, 18; homosexuality and, 67; iden-
207, 234; exploitation as political
tification of show business and, 6 –
tool of, 94; music and, 37, 122, 146,
9, 12, 260; New German Cinema
155; New German Cinema critique
and, 264; reactionary modernism
of, 264; studio system and, 8; wide-
