In lieu of an abstract, here is a brief excerpt of the content:

383 Notes Introduction 1. Schwieck, “Dutch–German Relations under German Pressure and Nazi Occupation 1933–1945,” 215. 2. Michelangelo Antonioni, “La settimana cinematografica di Venezia: L’ebreo Süss e Il cavaliere di Kruja,” Corriere Padano (Ferrara), September 6, 1940. 3. Waldman, Nazi Films in America, 1933–1942, 7. Waldman’s beautifully illustrated book, in which he analyzes a hundred films not mentioned elsewhere, has received little scholarly attention despite, or perhaps because of, its provocative thesis. The author has detected many more Jewish characters in Nazi-era films than his colleagues and indeed finds the whole cast of characters in Carl Froelich’s period drama Traumulus (Little dreamer, 1936) Jewish because their names sound that way to his ear: Gotthold Niemeyer (played by Emil Jannings), Kurt von Zedlitz, Franz von Mettke, Erwin Putzke, Lydia Link, and so on. The fact that most of these characters are likable and positive role models creates problems the author avoids dealing with; nevertheless, because of the thoroughness of his research, the book merits attention. 4. Zuckmayer, Geheimreport, 184–85. 5. Blubacher, Gibt es etwas Schöneres als Sehnsucht? 31; Buchloh, Veit Harlan, 196; for Mendelssohn’s letter to Harlan, see Buchloh, Veit Harlan, 318 n. 89 (citing Mendelssohn Archive, MA Depos. MG Nachlass, 5 MG 367/96, map 2). All translations are my own unless otherwise noted. 6. Buchloh, Veit Harlan, 214. 7. Jessica Jacoby, the daughter of Veit Harlan’s daughter Susanne, interviewed in Felix Moeller’s documentary Harlan—im Schatten von Jud Süss (Harlan—in the Shadow of Jew Süss, 2009). Although Jacoby is a journalist, she has not yet revealed the source of her psychological insights or written in more detail about growing up as the granddaughter of a Nazi propagandist, on the one hand, and of a Jewish couple murdered in Minsk, on the other. 8. F. Gwynplaine MacIntyre from North Wales, comment posted at Internet Movie Database, April 10, 2004, 9. Crick, George Orwell, 30. 10. Koch is a lone dissenting voice in this case (Die Einstellung ist die Einstellung , 173, cited in Tegel, Nazis and the Cinema, 259–60). 384 Notes to Pages 5–11 11. Schulte-Sasse, Entertaining the Third Reich, 10–11. 12. Brando, Songs My Mother Taught Me, 219. 13. Fehrenbach, Cinema in Democratizing Germany, 10. 14. Scheugl, Sexualität und Neurose im Film, 273. Scheugl’s homophobia, like Theweleit’s, is directed chiefly against other straight men whom he suspects of being gay. He views manifestly gay men themselves as neurotic but harmless. 15. Karsten Witte to Frank Noack, May 10, 1995. Original text: “Keineswegs denunziere ich Veit Harlan, er denunziert sich selber in seiner masslosen ästhetischen Selbstüberschätzung.” 16. Knilli, Ich war Jud Süss, 156. 17. Hoffmann, “Und die Fahne führt uns in die Ewigkeit,” 68; Petley, Capital and Culture, 136, 133 (Harlan’s antifeminism). Erich Lüth, cited in Zielinski, Veit Harlan, 34 (“exploitation of Söderbaum”). The charge of euthanasia propaganda has also been leveled against Leni Riefenstahl, in whose Olympia (Olympiad) films no disabled people can be seen, which to some critics signals a call for their eradication. 18. The auteur theory is a theory developed in France and made popular in the United States by Andrew Sarris that argues that in the ideal case a film director is no mere craftsman but an artist with a personal handwriting. 19. Historian Marsha Kinder has noted that Luis Buñuel came “to prefer melodrama over neorealism as the cinematic form with the greatest subversive potential.” “To get their political critiques past the censors,” Kinder writes about two Carlos Saura pictures, “they both use melodrama, a genre that effectively plays at the border between evasion and subversion” (Blood Cinema, 33, 132). 20. The article is included in Kuzniar’s book The Queer German Cinema. 21. Dagover, Ich war die Dame, 196–200. 22. Koch, “From Detlef Sierck to Douglas Sirk.” “In Sirk,” Koch claims, “the sexual woman is always degenerate, a striking fault of nature. If the camera acknowledges her body with any voyeuristic pleasure at all, it is in the form of repulsive sexuality” (29). The only examples Koch can name, however, are Dorothy Malone in Written on the Wind (1956) and Susan Kohner in Imitation of Life (1959), and in these two cases her observation is apt, but she has obviously not noticed the self-confident, witty, and attractive women played by Patricia Morison in Hitler’s Hangman (1943), Lucille Ball...


Additional Information

Related ISBN
MARC Record
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.