Lutz Koepnick analyzes the complicated relationship between two cinemas--Hollywood's and Nazi Germany's--in this theoretically and politically incisive study. The Dark Mirror examines the split course of German popular film from the early 1930s until the mid 1950s, showing how Nazi filmmakers appropriated Hollywood conventions and how German film exiles reworked German cultural material in their efforts to find a working base in the Hollywood studio system. Through detailed readings of specific films, Koepnick provides a vivid sense of the give and take between German and American cinema.
Lutz Koepnick is Associate Professor of German and Film and Media Studies at Washington University in St. Louis. He is the author of Walter Benjamin and the Aesthetics of Power (1999) and Nothungs Modernitat: Wagners Ring und die Poesie der Macht im neunzehnten Jahrhundert (1994).
List of Illustrations Acknowledgments Introduction: The Dark Mirror PART 1: HOLLYWOOD in BERLIN, 1933--1939 Chapter 1 Sounds of Silence: Nazi Cinema and the Quest for a National Culture Industry Chapter 2 Incorporating the Underground: Curtis Bernhardt's The Tunnel Chapter 3 Engendering Mass Culture: Zarah Leander and the Economy of Desire Chapter 4 Siegfried Rides Again: Nazi Westerns and Modernity PART 2: BERLIN in HOLLYWOOD, 1939--1955 Chapter 5 Wagner at Warner's: German Sounds and Hollywood Studio Visions Chapter 6 Berlin Noir: Robert Siodmak's Hollywood Chapter 7 Pianos, Priests, and Popular Culture: Sirk, Lang, and the Legacy of American Populism Chapter 8 Isolde Resurrected: Curtis Bernhardt's Interrupted Melody Epilogue: "Talking about Germany" Notes Index