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vii Author’s Note This book is not a translation of my German-language biography Veit Harlan: Des Teufels Regisseur, which was published in 2000. It is instead a rewrite. It was motivated by access to hitherto unpublished documents provided by Harlan family historian Ingrid Buchloh and to first-class copies of Harlan films on the big screen as opposed to the blurred videotape copies I had to satisfy myself with previously. It was also motivated by recent developments in film studies. The original book had been written in protest against German film scholars who relied on outdated sources, unaware of the New Film History movement or the exemplary work done by U.S. scholars. I decided back then to answer anti-Harlan polemics with pro-Harlan polemics, which I still think was justified in the national context but not in an international context. Due to legal training at the Kammergericht Berlin, I had also found it unacceptable that Harlan was denied the right of defense, however tentative . It is one thing to call a defense unconvincing; it is something else to question its very existence. And defending Harlan was not even my aim; my attitude was and remains that of a curious investigator. The ongoing program “Wiederentdeckt” (Rediscovered) at Berlin’s Zeughauskino has been a chief inspiration for my rewrite. These screenings of old German films are unusually well attended, and the audience is no longer dominated by elderly people reviving childhood memories, with due respect for their motives, but students who wonder why none of these intriguing films have received the scholarly attention they deserve. The chief aim of this book, then, is not to create a positive view of Veit Harlan as a Nazi film propagandist but to encourage a look beyond the existing German film canon in general and to call for analyses of lesser-known Harlan films in particular. ...


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