Noah Isenberg is associate professor of University Humanities at Eugene Lang College-The New School, where he teaches literature, film, and intellectual history. He is the author, most recently, of Detour (British Film Institute, 2008).

Weimar Cinema is the volume on this fascinating era of international film history. -- Gerd Gemunden Bookforum A super collection of essays about sixteen dynamite flicks. 944 Los Angeles This superb collection... [is] an excellent overview of the critical frameworks of German film studies... Essential. Choice A well-constructed and welcome introduction to a number of classics. -- Philipp Stiasny German History Weimar Cinema will prove equally useful to teachers of undergraduates as to those engaging in ongoing scholarly research into this fascinating period in German filmhistory. -- Ian Roberts Historical Journal of Film, Radio, and Television With its detailed filmography and intelligently organized index, this work could easily serve as the primary textbook for a survey of Weimar film. -- Glenn R. Cuomo German Studies Review

• Acknowledgments Introduction 1. Suggestion, Hypnosis, and Crime: Robert Wiene's The Cabinet of Dr. Caligari (1920), by Stefan Andriopoulos 2. Of Monsters and Magicians: Paul Wegener's The Golem: How He Came into the World (1920), by Noah Isenberg 3. Movies, Money, and Mystique, by Christian Rogowski 4. No End to Nosferatu (1922), by Thomas Elsaesser 5. Fritz Lang's Dr. Mabuse, the Gambler (1922): Grand Enunciator of the Weimar Era, by Tom Gunning 6. Who Gets the Last Laugh? Old Age and Generational Change in F. W. Murnau's The Last Laugh (1924), by Sabine Hake 7. Inflation and Devaluation: Gender, Space, and Economics in G. W. Pabst's The Joyless Street (1925), by Sara F. Hall 8. Tradition as Intellectual Montage: F. W. Murnau's Faust (1926), by Matt Erlin 9. Metropolis (1927): City, Cinema, Modernity, by Anton Kaes 10. Berlin, Symphony of a Great City (1927): City, Image, Sound, by Nora M. Alter 11. Surface Sheen and Charged Bodies: Louise Brooks as Lulu in Pandora's Box (1929), by Margaret McCarthy 12. The Bearable Lightness of Being: People on Sunday (1930), by Lutz Koepnick 13. National Cinemas / International Film Culture: The Blue Angel (1930) in Multiple Language Versions, by Patrice Petro 14. Coming Out of the Uniform: Political and Sexual Emancipation in Leontine Sagan's Madchen in Uniform (1931), by Richard W. McCormick 15. Fritz Lang's M (1931): An Open Case, by Todd Herzog 16. Whose Revolution? The Subject of Kuhle Wampe (1932), by Marc Silberman Filmography Contributors Index

Noah Isenberg is associate professor of University Humanities at Eugene Lang College-The New School, where he teaches literature, film, and intellectual history. He is the author, most recently, of Detour (British Film Institute, 2008).

Weimar Cinema is the volume on this fascinating era of international film history. -- Gerd Gemunden Bookforum A super collection of essays about sixteen dynamite flicks. 944 Los Angeles This superb collection... [is] an excellent overview of the critical frameworks of German film studies... Essential. Choice A well-constructed and welcome introduction to a number of classics. -- Philipp Stiasny German History Weimar Cinema will prove equally useful to teachers of undergraduates as to those engaging in ongoing scholarly research into this fascinating period in German filmhistory. -- Ian Roberts Historical Journal of Film, Radio, and Television With its detailed filmography and intelligently organized index, this work could easily serve as the primary textbook for a survey of Weimar film. -- Glenn R. Cuomo German Studies Review

• Acknowledgments Introduction 1. Suggestion, Hypnosis, and Crime: Robert Wiene's The Cabinet of Dr. Caligari (1920), by Stefan Andriopoulos 2. Of Monsters and Magicians: Paul Wegener's The Golem: How He Came into the World (1920), by Noah Isenberg 3. Movies, Money, and Mystique, by Christian Rogowski 4. No End to Nosferatu (1922), by Thomas Elsaesser 5. Fritz Lang's Dr. Mabuse, the Gambler (1922): Grand Enunciator of the Weimar Era, by Tom Gunning 6. Who Gets the Last Laugh? Old Age and Generational Change in F. W. Murnau's The Last Laugh (1924), by Sabine Hake 7. Inflation and Devaluation: Gender, Space, and Economics in G. W. Pabst's The Joyless Street (1925), by Sara F. Hall 8. Tradition as Intellectual Montage: F. W. Murnau's Faust (1926), by Matt Erlin 9. Metropolis (1927): City, Cinema, Modernity, by Anton Kaes 10. Berlin, Symphony of a Great City (1927): City, Image, Sound, by Nora M. Alter 11. Surface Sheen and Charged Bodies: Louise Brooks as Lulu in Pandora's Box (1929), by Margaret McCarthy 12. The Bearable Lightness of Being: People on Sunday (1930), by Lutz Koepnick 13. National Cinemas / International Film Culture: The Blue Angel (1930) in Multiple Language Versions, by Patrice Petro 14. Coming Out of the Uniform: Political and Sexual Emancipation in Leontine Sagan's Madchen in Uniform (1931), by Richard W. McCormick 15. Fritz Lang's M (1931): An Open Case, by Todd Herzog 16. Whose Revolution? The Subject of Kuhle Wampe (1932), by Marc Silberman Filmography Contributors Index

Noah Isenberg is associate professor of University Humanities at Eugene Lang College-The New School, where he teaches literature, film, and intellectual history. He is the author, most recently, of Detour (British Film Institute, 2008).

Weimar Cinema is the volume on this fascinating era of international film history. -- Gerd Gemunden Bookforum A super collection of essays about sixteen dynamite flicks. 944 Los Angeles This superb collection... [is] an excellent overview of the critical frameworks of German film studies... Essential. Choice A well-constructed and welcome introduction to a number of classics. -- Philipp Stiasny German History Weimar Cinema will prove equally useful to teachers of undergraduates as to those engaging in ongoing scholarly research into this fascinating period in German filmhistory. -- Ian Roberts Historical Journal of Film, Radio, and Television With its detailed filmography and intelligently organized index, this work could easily serve as the primary textbook for a survey of Weimar film. -- Glenn R. Cuomo German Studies Review

• Acknowledgments Introduction 1. Suggestion, Hypnosis, and Crime: Robert Wiene's The Cabinet of Dr. Caligari (1920), by Stefan Andriopoulos 2. Of Monsters and Magicians: Paul Wegener's The Golem: How He Came into the World (1920), by Noah Isenberg 3. Movies, Money, and Mystique, by Christian Rogowski 4. No End to Nosferatu (1922), by Thomas Elsaesser 5. Fritz Lang's Dr. Mabuse, the Gambler (1922): Grand Enunciator of the Weimar Era, by Tom Gunning 6. Who Gets the Last Laugh? Old Age and Generational Change in F. W. Murnau's The Last Laugh (1924), by Sabine Hake 7. Inflation and Devaluation: Gender, Space, and Economics in G. W. Pabst's The Joyless Street (1925), by Sara F. Hall 8. Tradition as Intellectual Montage: F. W. Murnau's Faust (1926), by Matt Erlin 9. Metropolis (1927): City, Cinema, Modernity, by Anton Kaes 10. Berlin, Symphony of a Great City (1927): City, Image, Sound, by Nora M. Alter 11. Surface Sheen and Charged Bodies: Louise Brooks as Lulu in Pandora's Box (1929), by Margaret McCarthy 12. The Bearable Lightness of Being: People on Sunday (1930), by Lutz Koepnick 13. National Cinemas / International Film Culture: The Blue Angel (1930) in Multiple Language Versions, by Patrice Petro 14. Coming Out of the Uniform: Political and Sexual Emancipation in Leontine Sagan's Madchen in Uniform (1931), by Richard W. McCormick 15. Fritz Lang's M (1931): An Open Case, by Todd Herzog 16. Whose Revolution? The Subject of Kuhle Wampe (1932), by Marc Silberman Filmography Contributors Index