Abstract
AcknowledgmentsIntroduction1. Suggestion, Hypnosis, and Crime: Robert Wiene's The Cabinet of Dr. Caligari (1920), by Stefan Andriopoulos2. Of Monsters and Magicians: Paul Wegener's The Golem: How He Came into the World (1920), by Noah Isenberg3. Movies, Money, and Mystique, by Christian Rogowski4. No End to Nosferatu (1922), by Thomas Elsaesser5. Fritz Lang's Dr. Mabuse, the Gambler (1922): Grand Enunciator of the Weimar Era, by Tom Gunning6. Who Gets the Last Laugh? Old Age and Generational Change in F. W. Murnau's The Last Laugh (1924), by Sabine Hake7. Inflation and Devaluation: Gender, Space, and Economics in G. W. Pabst's The Joyless Street (1925), by Sara F. Hall8. Tradition as Intellectual Montage: F. W. Murnau's Faust (1926), by Matt Erlin9. Metropolis (1927): City, Cinema, Modernity, by Anton Kaes10. Berlin, Symphony of a Great City (1927): City, Image, Sound, by Nora M. Alter11. Surface Sheen and Charged Bodies: Louise Brooks as Lulu in Pandora's Box (1929), by Margaret McCarthy12. The Bearable Lightness of Being: People on Sunday (1930), by Lutz Koepnick13. National Cinemas / International Film Culture: The Blue Angel (1930) in Multiple Language Versions, by Patrice Petro14. Coming Out of the Uniform: Political and Sexual Emancipation in Leontine Sagan's M dchen in Uniform (1931), by Richard W. McCormick15. Fritz Lang's M (1931): An Open Case, by Todd Herzog16. Whose Revolution? The Subject of Kuhle Wampe (1932), by Marc SilbermanFilmographyContributorsIndex
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