Dietrich's Ghosts: The Sublime and the

This text looks at the star system under the Third Reich. Following the experiments of Weimar, much of cinema after 1933 became part of a wider Nazi backlash against modernism in all its forms. This study contributes to contemporary debates concerning the historical study of film spectatorship.

Erica Carter is Senior Lecturer in German Studies at the University of Warwick and author of How German is She?: Postwar West German Reconstruction and the Consuming Woman (1997).

Preface and Acknowledgments

vii

List of abbreviations

ix

INTRODUCTION

1

(22)

Third Reich film and the fascist aesthetic

6

(6)

Kant through Third Reich eyes

12

(1)

Structure of the book

13

(10)

1 FILM AS ART: A CINEMA OF PERSONALITY

23

(33)

Film, personality and genius

26

(7)

The 'personality' as cultural official

33

(3)

The Ufa artistic committee

36

(5)

The German Film Academy and the racial selection of genius

41

(6)

Personality and genius as social fantasies

47

(9)

2 THE ACTOR IN THE CINEMA OF PERSONALITY

56

(28)

Actors versus stars

56

(5)

Stars and personality

61

(3)

Film acting and theatre

64

(3)

Acting and physiognomy

67

(5)

Personality and performance

72

(12)

3 THE NEW FILM ART: EXHIBITION

84

(24)

Cinema as theatre: the dramaturgy of reception

84

(3)

Space-time transformations of spectatorship

87

(15)

Spectatorship transformed?

102

(6)

4 PERSONALITY AND THE VÖLKISCH SUBLIME: CARL FROELICH AND EMIL JANNINGS

108

(28)

Carl Froelich as auteur-personality

110

(2)

Froelich and camera

112

(4)

Froelich and light

116

(2)

Froelich versus Hollywood: star lighting in Traumulus

118

(3)

Personality versus star: Jannings and Weissner

121

(4)

Emil Jannings as sublime personality

125

(3)

Jannings, spectatorship and the sublime

128

(8)

5 MARLENE DIETRICH: FROM THE SUBLIME TO THE BEAUTIFUL

136

(37)

Gender in the cinema of personality: the beautiful versus the sublime

137

(6)

Film commentary contra the modern mass

143

(2)

Dietrich as icon of beauty: The Scarlet Empress

145

(4)

Eroticism and ambiguity: challenges to beautiful form

149

(2)

Dietrich and the masquerade: The Devil is a Woman

151

(4)

The masquerade in close-up: racial readings

155

(3)

Desire: returning home to narrative

158

(4)

Dietrich the prodigal daughter

162

(11)

6 ZARAH LEANDER: FROM BEAUTIFUL IMAGE TO VOICE SUBLIME

173

(30)

Leander as uncanny double

175

(1)

Recruitment for the Reich, 1936

176

(3)

Leander in German-language film, 1936-43

179

(24)

7 LEANDER AS SUBLIME OBJECT

203

(18)

War and the sublime

204

(6)

Gender and the sublime

210

(3)

The star system after Dietrich: Marlene's ghosts?

213

(8)

Bibliography

221

(16)

Index

237

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Dietrich's Ghosts: The Sublime and the Beautiful in Third Reich Film

Summary

Author Biography

Table of Contents

Supplemental Materials