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Volume 60, Number 5, 2004

Table of Contents

Special Issue: Mac Ophuls

Guest Editor: Susan White

Max Ophuls: An Introduction

pp. 1-14 | DOI: 10.1353/arq.2004.0028

An Open Letter to a German Friend

pp. 15-24 | DOI: 10.1353/arq.2004.0031

The Making of Max Ophuls' Lola Montès/Lola Montez

pp. 25-42 | DOI: 10.1353/arq.2004.0033

Off the Deep End Far from Heaven: Social Topography in The Reckless Moment

pp. 43-63 | DOI: 10.1353/arq.2004.0035

Max Op(h)uls Fashions Femininity

pp. 65-86 | DOI: 10.1353/arq.2004.0037

Leonora's Place: The Spatial Logic of Caught

pp. 87-95 | DOI: 10.1353/arq.2004.0025

The Lost Ballad: Max Ophuls' Last Hollywood Project

pp. 96-126 | DOI: 10.1353/arq.2004.0027

Ophuls and Renoir

pp. 127-148 | DOI: 10.1353/arq.2004.0030

Nature and Artifice in Max Ophuls' Cinema

pp. 149-158 | DOI: 10.1353/arq.2004.0032

Woman/Road/America/Cinema

pp. 159-182 | DOI: 10.1353/arq.2004.0034

From Stage to Screen: The Impact of the German Theater on Max Ophüls

pp. 183-196 | DOI: 10.1353/arq.2004.0036

"Verkehrte Welt"—"An Inverted World": From Erich Kästner's Play to Max Ophüls' Short Film, "I'd Rather Have Cod Liver Oil"

pp. 197-209 | DOI: 10.1353/arq.2004.0024

Emblems of Modernism in the Early Films of Max Ophüls

pp. 211-222 | DOI: 10.1353/arq.2004.0026

The Contributors

pp. 223-224 | DOI: 10.1353/arq.2004.0029

Research Areas

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