First Published in 1986. Routledge is an imprint of Taylor & Francis, an informa company.

Eric Rentschler is Associate Professor of German and Director of FilmStudies at the University of California, Irvine.

Introduction: theoretical and historical considerations 1 The first German art film: Rye's The Student of Prague (1913) 2 Dracula in the twilight: Murnau's Nosferatu (1922) 3 Lulu and the meter man: Pabst's Pandora's Box (1929) 4 Between two worlds: von Sternberg's The Blue Angel (1930) 5 Reading Ophiils reading Schnitzler: Liebelei (1933) 6 Kleist in the Third Reich: Ucicky's The Broken Jug (1937) 7 How Nazi cinema mobilizes the classics: Schweikart's Das Fraulein von Barnhelm (1940) 8 The other Germany in Zinnemann's The Seventh Cross (1944) 9 Postwar traumas in Klaren's Wozzeck (1947) 10 Semper fidelis: Staudte's The Subject (1951) German Film and Literature 11 A return to arms: Kautner's The Captain of K6penick (1956) 12 Specularity and spectacle in Schlondorff's Young Torless (1966) 13 Space of history, language of time: Kluge's Yesterday Girl (1966) 14 The invalidation of Arnim: Herzog's Signs of Life (1968) 15 Textuality and theatricality in Brecht and Straub/Huillet: History Lessons (1972) 16 A recast Goethe: Gunther's Lotte in Weimar (1975) 17 The tension of translation: Handke's The Left-Handed Woman (1977) 18 History, fiction, memory: Fassbinder's The Marriage of Maria Braun (1979) 19 The search for the Mother/Land in Sanders-Brahms's Germany, Pale Mother (1980) 20 Terms of dismemberment: the body inland/of Fassbinder's Berlin Alexanderplatz (1980)