Nazi Film Melodrama

Index

Index Baarova, Lida, 49, 113, 115, 217n47 Bad auf der Tenne, Das (The Bath on the Threshing Floor), 87–88, 209n63, 215n93 Baer, Hester, 200 barmherzige Lüge, Die (The Merciful Lie), 57–62, 58, 113, 218n92 Barthes, Roland, 9, 96 Basinger, Jeanine, 98 Bathrick, David, 102–3 Bergman, Ingrid, 67, 68, 70, 200 Beyer, Friedemann, 86, 173–74 Big House, The, 17 Birgel, Willy, 64 Bismarck, 26 Bleuel, Hans Peter, 86 blood and soil (Blut und Boden) ideology, 49, 138, 172, 211n10 Bormann, Martin, 122 bourgeois morality: and antibourgeois ideology , 2, 5, 137, 142, 186; in Auf Wiedersehen, Franziska, 170; and Christianity, 10, 83–84, 88–89, 94, 126; definition of, 83–84; in Die Geliebte, 112; in Der Herrscher, 125–26; in Hollywood film, 10, 134, 144, 201; and marriage, 89, 96, 101, 105, 116; and militarism , 12, 89, 164, 194; Nazi ideology and, 93, 97, 203–4; Nazi leadership’s opposition to, 83, 96, 113, 116, 212n32; Nietzsche’s attack on, 84, 86, 94; and nudity, 29; in Opfergang, 116–19, 122, 195; in postwar Germany, 196, 199, 203–4; in Romanze in Moll, 101–4; and sexuality, 3, 47, 55, 83, 122; and single motherhood, 134, 186; Page numbers in italics indicate illustrations . actors and actresses: foreign, 48–49, 62, 93, 210n9; as models for gender roles, 36, 49–50, 62–63, 93, 110; screen tests of, 55–57, 63 Adenauer, Konrad, 15; Adenauer era, 188, 196–99, 201–3 Adorno, Theodor, 84 Albrecht, Gerd, 207n5 All That Heaven Allows, 125 Almodóvar, Pedro, 106 Altenloh, Emilie, 19–20 Altes Herz wird wieder jung (Old Heart Becomes Young Again), 129–30, 219n92 Anders als du und ich/Das dritte Geschlecht (Different from Me and You/The Third Sex), 197 androgyny: female, 50, 53–54, 63, 170, 211n19–21; male, 63, 93; in postwar melodrama , 198 Anna Karenina (1927), 17, 32 Anna Karenina (1935), 14, 32–44, 41, 105, 210n78 Anna und Elisabeth (Anna and Elizabeth), 90–92, 91, 121 anti-Semitism, 3–4, 83, 140, 165, 197 Aschheim, Steven, 84 Auf Wiedersehen, Franziska (Farewell, Franziska): 168–74, 179–80, 185, 219n92; representation of war in, 168, 174, 176, 177, 223n68 Heins_NaziFilm_text.indd 233 5/3/13 11:44 AM 234 Index bourgeois morality (continued): and spectatorship , 138, 141, 144; and Umwege zum Glück, 111; and the Weimar period, 86–87 Brignone, Guido, 24 Brooks, Peter, 2–3, 5–6, 28 Bund Deutscher Mädel (BDM/League of German Girls), 130, 134; and female spectatorship , 18–19, 92, 136, 208n24, 213n48 Cadars, Pierre, 21–22 Camille, 32, 209n75 Carroll, Noël, 123, 125 Carter, Erica, 28, 30 Cawelti, John, 3, 32 censorship: of adultery, 98, 100–101, 105, 111; aesthetic, 24, 92; of childbirth, 133–34; in Hollywood, 98, 100, 134, 145–46, 157; liberalization of, 53, 60, 85, 214n85; in Nazi cinema vs. other European cinemas, 87– 88; of nudity, 29, 200; of political content, 85, 95, 139; of pornography, 82–83, 214n85; and spectator response, 112, 141 children. See family; motherhood Christianity: Catholic Church, 23, 87–89, 115, 138, 197; Catholicism, 3, 25, 198; in Der Herrscher, 126; in Hollywood cinema, 144, 153–54, 162, 190, 202; in Jugend, 130; and Nazi ideology, 11, 16, 84, 185, 196; and sexual morality, 83, 87–89, 107, 138; and spectatorship, 138, 142, 203. See also bourgeois morality Colbert, Claudette, 158, 159 colonialism, 46, 93, 142, 203; and Auf Wiedersehen , Franziska, 169, 172; and Die barmherzige Lüge, 57–58; and eroticism, 57, 58, 61–62, 172, 202; and Man spricht über Jacqueline, 51–52, 63, 120; and masculinity , 118, 202; and melodrama, 63–64, 145, 201–2; and Opfergang, 117–18, 120; and racism, 61 comedy, 29, 45, 70, 100, 210n6; in Hollywood cinema, 33, 34, 100; as key Nazi film genre, 14, 39, 43, 46; vs. melodrama, 22–23, 45–6; and propaganda, 22, 210n6 communism, 7, 42, 84, 108, 200; in Hitler Youth Quex, 123–24 consumerism, 203; and American propaganda , 148–49, 150, 156, 181, 190; and female spectatorship, 20, 43 Cook, Pam, 3, 5, 22–23, 66, 90 crime films, 14, 20, 30, 45, 207n4; and gendered spectatorship, 6, 16, 18 Cukor, George, 32, 209n75 Dagover, Lil, 49, 108, 109 Damals (Back Then), 132, 213n56 Dark Victory, 16, 51 Davis, Bette, 51 death: avoidance of representation of in Nazi cinema, 35, 59, 166–67, 177–78, 223n68; eroticization of, 3, 121–22, 183, 195, 197; in Hollywood films, 150, 152, 155–56...