Minetti, Bernhard, 115
Manicheanism, 8, 209, 214, 218, 234
Miramax Films, 268
Mann, Klaus, 102 –3
Miranda, Aurora, 176
Männerpension, 266
mise-en-scène, 58; in Nazi westerns,
Marcuse, Herbert, 63
119; of Siodmak, 170, 174, 180; of
Marlene, 267
Sirk, 77, 89, 92, 212, 217, 230 –31;
Marshall, George, 132
in widescreen cinema, 248, 249
Martin, Edwin L., 286n27
misogyny, Nazi, 67 – 69
Martin, Paul, 43, 44
Miss Sadie Thompson, 241, 248
Marxism, 155, 207
modernity, 8, 76, 93, 139, 141, 173,
masquerades, cultural, 262 – 63
207, 260; crises and, 164; displace-
mass culture, 104, 158, 255, 268;
ment and, 257 –58; experience of
American, 165, 196, 199, 204 ( see
contingency in, 13, 15; film noir
also Fordist mass culture); anti-Nazi and, 166, 173, 175, 178 – 80, 187,
films and, 139; boundaries between
192; music and, 122, 148 –51, 154;
high art and, 214, 218; female star
postwar Germany anxiety about,
images in, 74, 76 –79, 86, 88, 94;
197; sound and, 10 –12; Wagner
film noir and, 201; Horkheimer and
and, 9; westerns and, 102 – 8, 118,
Adorno’s critique of, 6 –9; and intro-
124 –25, 127 –29, 132 –33
duction of synchronized sound, 29;
Möllhausen, Balduin, 104
language and, 144; Nazi, 23, 24, 60,
Monsignore’s Hour, 229
