Using film theory and current criticism, White traces the figure of woman in the work of Max Ophuls.
Acknowledgments
Introduction
Circulation and Scapegoating in Lachende Erben (Happy Heirs). Die verkaufte Braut (The Bartered Bride), and Liebelei
p. 21
The Economy of the Feminine in Madame de .... Komedie om Geld (Comedy about Money), Sans Lendemain (No Tomorrow), and The Reckless Moment
p. 51
Directorial Protocol and the Failed Sacrifice in De Mayerling a Sarajevo
p. 107
Aggressivity, Image, and Sound in Letter from an Unknown Woman
p. 129
To Hear Is to Obey: The Acoustical Imperative in La Signora di Tutti, Werther, and Lachende Erben
p. 195
Spectacle, Economics, and the Perils of Directorship in Le Plaisir, La Ronde, and Caught
p. 225
Closing the Circle: Lola Montes, Divine, and La Tendre Ennemie
p. 259
Notes
p. 305
Filmography
p. 365
Index
p. 373
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