Hester Baer is Associate Professor of Germanic Studies at the University of Maryland, College Park. She has published widely on postwar and contemporary German cinema, women's literature, and feminism.

“…[a] fascinating study…[that] makes  a major contribution to a burgeoning field dedicated to the investigation of what was once dismissed.”  ·  Monatshefte“...makes a significant and original contribution, is well researched as well as written, and would lend itself conveniently to the teaching of any of these films…[It] bring[s] to bear theories from Anglo-American film studies as well as German cultural studies and history. The result is a felicitous mixture of theory, cultural-historical context, and informed film readings.”  ·  Jaimey Fisher, University of California, Davis

• FiguresAcknowledgmentsIntroduction: Postwar German CinemaChapter 1. The Female Gaze in The Murderers Are Among UsChapter 2. Authorship and Stardom in Film Without a TitleChapter 3. Love ’47 as Woman’s FilmChapter 4. Race, Ethnicity, and Gender in EpilogueChapter 5. Regendering Representation in The SinnerChapter 6. Visual Pleasure and Cinematic Realism in The Forester of the Silver WoodChapter 7. Gender and Sexuality in Different From You and MeChapter 8. Spectatorship and Genre in Engagement in ZurichChapter 9. Critical Strategies of The Girl RosemarieChapter 10. The Bread of Those Early Years as Transitional FilmEpilogue: Adapting the 1950sBibliographyIndex

Hester Baer is Associate Professor of Germanic Studies at the University of Maryland, College Park. She has published widely on postwar and contemporary German cinema, women's literature, and feminism.

“…[a] fascinating study…[that] makes  a major contribution to a burgeoning field dedicated to the investigation of what was once dismissed.”  ·  Monatshefte“...makes a significant and original contribution, is well researched as well as written, and would lend itself conveniently to the teaching of any of these films…[It] bring[s] to bear theories from Anglo-American film studies as well as German cultural studies and history. The result is a felicitous mixture of theory, cultural-historical context, and informed film readings.”  ·  Jaimey Fisher, University of California, Davis

• FiguresAcknowledgmentsIntroduction: Postwar German CinemaChapter 1. The Female Gaze in The Murderers Are Among UsChapter 2. Authorship and Stardom in Film Without a TitleChapter 3. Love ’47 as Woman’s FilmChapter 4. Race, Ethnicity, and Gender in EpilogueChapter 5. Regendering Representation in The SinnerChapter 6. Visual Pleasure and Cinematic Realism in The Forester of the Silver WoodChapter 7. Gender and Sexuality in Different From You and MeChapter 8. Spectatorship and Genre in Engagement in ZurichChapter 9. Critical Strategies of The Girl RosemarieChapter 10. The Bread of Those Early Years as Transitional FilmEpilogue: Adapting the 1950sBibliographyIndex

Hester Baer is Associate Professor of Germanic Studies at the University of Maryland, College Park. She has published widely on postwar and contemporary German cinema, women's literature, and feminism.

“…[a] fascinating study…[that] makes  a major contribution to a burgeoning field dedicated to the investigation of what was once dismissed.”  ·  Monatshefte“...makes a significant and original contribution, is well researched as well as written, and would lend itself conveniently to the teaching of any of these films…[It] bring[s] to bear theories from Anglo-American film studies as well as German cultural studies and history. The result is a felicitous mixture of theory, cultural-historical context, and informed film readings.”  ·  Jaimey Fisher, University of California, Davis

• FiguresAcknowledgmentsIntroduction: Postwar German CinemaChapter 1. The Female Gaze in The Murderers Are Among UsChapter 2. Authorship and Stardom in Film Without a TitleChapter 3. Love ’47 as Woman’s FilmChapter 4. Race, Ethnicity, and Gender in EpilogueChapter 5. Regendering Representation in The SinnerChapter 6. Visual Pleasure and Cinematic Realism in The Forester of the Silver WoodChapter 7. Gender and Sexuality in Different From You and MeChapter 8. Spectatorship and Genre in Engagement in ZurichChapter 9. Critical Strategies of The Girl RosemarieChapter 10. The Bread of Those Early Years as Transitional FilmEpilogue: Adapting the 1950sBibliographyIndex