Erica Tortolani earned a PhD in Film Studies at the University of Massachusetts. Professor Martin Norden is Professor of Communication at the University of Massachusetts

A highly welcome first volume in English on director, set designer, and graphic artist Paul Leni (1885-1929). The excellent essays collected here offer a multifaceted reappraisal of an astonishingly versatile film maker, highlighting the continued relevance of his groundbreaking work for the historiography of German and Hollywood film, and beyond.

• List of contributorsChronologyFilmographyIntroduction - Erica Tortolani and Martin F. Norden1. Exploding the Cosmopolitan and Treating the Foreigners’ Foreignness: Paul Leni’s The Diary of Dr. Hart - Jaimey Fisher2. The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs - Jason Doerre3. Cinema Panopticum: Wax, Work, Waxworks - Erik Born4. The Proto-Horror-Comedy: Waxworks - Joel Westerdale5. Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles - Erica Tortolani6. Bravura Beginnings: Leni and the Art of the Prologue - Martin F. Norden7. Paul Leni’s The Cat and the Canary: Adaptation into Genre - Rebecca M. Gordon8. Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the Canary - Simone Natale9. Misfitting in America: Paul Leni, Conrad Veidt, and The Man Who Laughs - Gábor Gergely10. Masculinity and Facial Disfigurement in The Man Who Laughs - Bruce Henderson11. Cinematic Space and Set Design in Paul Leni’s The Last Warning - Bastian Heinsohn12. The Last Warning: Uncertainty, Exploitation, and Horror - Shawn Shimpach

Erica Tortolani earned a PhD in Film Studies at the University of Massachusetts. Professor Martin Norden is Professor of Communication at the University of Massachusetts

A highly welcome first volume in English on director, set designer, and graphic artist Paul Leni (1885-1929). The excellent essays collected here offer a multifaceted reappraisal of an astonishingly versatile film maker, highlighting the continued relevance of his groundbreaking work for the historiography of German and Hollywood film, and beyond.

• List of contributorsChronologyFilmographyIntroduction - Erica Tortolani and Martin F. Norden1. Exploding the Cosmopolitan and Treating the Foreigners’ Foreignness: Paul Leni’s The Diary of Dr. Hart - Jaimey Fisher2. The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs - Jason Doerre3. Cinema Panopticum: Wax, Work, Waxworks - Erik Born4. The Proto-Horror-Comedy: Waxworks - Joel Westerdale5. Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles - Erica Tortolani6. Bravura Beginnings: Leni and the Art of the Prologue - Martin F. Norden7. Paul Leni’s The Cat and the Canary: Adaptation into Genre - Rebecca M. Gordon8. Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the Canary - Simone Natale9. Misfitting in America: Paul Leni, Conrad Veidt, and The Man Who Laughs - Gábor Gergely10. Masculinity and Facial Disfigurement in The Man Who Laughs - Bruce Henderson11. Cinematic Space and Set Design in Paul Leni’s The Last Warning - Bastian Heinsohn12. The Last Warning: Uncertainty, Exploitation, and Horror - Shawn Shimpach