附註:Includes bibliographical references (pages 263-265) and index.
PREFACE -- 1. POPULAR CINEMA, NATIONAL CINEMA, NAZI CINEMA: A DEFINITION OF TERMS -- 2. MADE IN 1933: GERMAN-JEWISH FILMMAKERS AND THE FORCED COORDINATION OF THE INDUSTRY -- 3. CINEMA, SET DESIGN, AND THE DOMESTICATION OF MODERNISM -- 4. AT THE MOVIES: FILM AUDIENCES AND THE PROBLEM OF SPECTATORSHIP -- 5. STARS: HEINZ RÜHMANN AND THE PERFORMANCE OF THE ORDINARY -- 6. DETLEF SIERCK AND Schlußakkord (FINAL CHORD, 1936): A CASE STUDY OF FILM AUTHORSHIP -- 7. THE FOREIGN AND THE FAMILIAR: ON GERMAN-AMERICAN FILM RELATIONS, 1933-1940.
8. THE ANNEXATION OF AN IMAGINARY CITY: THE TOPOS "VIENNA" AND THE WIEN-FILM AG -- 9. THE POWER OF THOUGHT: REDEFINING POPULAR CINEMA BETWEEN REALISM AND ILLUSIONISM -- 10. A QUESTION OF REPRESENTATION: WORKING WOMEN AND WARTIME CINEMA -- 11. THE LEGACIES OF THE PAST IN THE CINEMA OF POSTWAR RECONSTRUCTION -- NOTES -- 1. POPULAR CINEMA, NATIONAL CINEMA, NAZI CINEMA: A DEFINITION OF TERMS -- 2. MADE IN 1933: GERMAN-JEWISH FILMMAKERS AND THE FORCED COORDINATION OF THE INDUSTRY -- 3. CINEMA, SET DESIGN, AND THE DOMESTICATION OF MODERNISM.
4. AT THE MOVIES: FILM AUDIENCES AND THE PROBLEM OF SPECTATORSHIP -- 5. STARS: HEINZ RÜHMANN AND THE PERFORMANCE OF THE ORDINARY -- 6. DETLEF SIERCK AND SCHLUßAKKORD (FINAL CHORD, 1936): A CASE STUDY OF FILM AUTHORSHIP -- 7. THE FOREIGN AND THE FAMILIAR: ON GERMANAMERICAN FILM RELATIONS, 1933-1940 -- 8. THE ANNEXATION OF AN IMAGINARY CITY: THE TOPOS "VIENNA" AND THE WIEN-FILM AG -- 9. THE POWER OF THOUGHT: REDEFINING POPULAR CINEMA BETWEEN REALISM AND ILLUSIONISM -- 10. A QUESTION OF REPRESENTATION: WORKING WOMEN AND WARTIME CINEMA.
11. THE LEGACIES OF THE PAST IN THE CINEMA OF POSTWAR RECONSTRUCTION -- SELECT BIBLIOGRAPHY -- INDEX OF GERMAN TITLES AND NAMES.
