Table of Contents
Preface and Acknowledgements
General Introduction
Early German Cinema: A Second Life? Thomas Elsaesser
Section I: Audiences and the Cinema Industry
The Kaiser's Cinema: An Archeology of Attitudes and Audiences, Martin Loiperdinger
Oskar Messter, Film Pioneer: Early Cinema between Science, Spectacle, and Commerce, Martin Koerber
The French Connection: Franco-German Film Relations before World War I, Frank Kessler and Sabine Lenk
The Danish Influence: David Oliver and Nordisk in Germany, Evelyn Hampicke
Paul Davidson, the Frankfurt Film Scene and AFGRUNDEN in Germany, Peter Lähn
Munich's First Fiction Feature: DIE WAHRHEIT, Jan-Christopher Horak
Moving Images of America in Early German Cinema, Deniz Göktürk
Section II: Popular Stars and Genres
Comedy
Early German Film Comdey, 1895-1917, Thomas Brandlmeier
The Spectator as Accomplice in Ernst Lubitsch's SCHUHPALAST PINKUS, Karsten Witte
Melodrama and Social Drama
Asta Nielsen and Femal Narration: The Early Films, Heide Schlüpmann
Melodrama and Narrative Space: Franz Hofer's HEIDENRÖSLEIN, Michael Wedel
Crime Drama and Detective Film
Cinema from teh Writing Desk: Detetive Films in Imperial Germany, Tilo Knops
Ernst Reicher alias Stuart Webbs: King of the German Film Detectives, Sebastian Hesse
The Early Fantasy Film
The Faces of Stellan Rye, Casper Tybjerg
HOMUNCULUS: A Project for a Modern Cinema, Leonardo Quaresima
Non-Fiction: War Films, Industrial Films, Propaganda and Advertising
Julius Pinschewer: A Trade-mark Cinema, Jeanpaul Goergen
Newsreel Images of the Militar and War, 1914-1918, Wolfgang Mühl-Benninghaus
Learning from the Enemy: German Film Propaganda in World War I, Rainer Rother
The Reason and Magic of Steel: Industrial and Urban Discourses in DIE POLDIHÜTTE, Kimberly O'Quinn
Section III: Film Style and Intertexts: Authors, Films, and Authors' Films
Max Mack: The Invisible Author, Michael Wedel
From Peripetia to Plot Point: Heinrich Lautensack and ZWEIMAL GELEBT, Jürgen Kasten
Giuseppe Becce and RICHARD WAGNER: Paradoxes of the First German Film Score, Ennio Simeon
Early German Film: The Stylistics in Comparative Context, Barry Salt
Self-Referentiality in Early German Cinema, Sabine Hake
Of Artists and Tourists: 'Locating' Holland in Two Early German Films, Ivo Blom
Stylistic Expressivity in DIE LANDSTRASSE, Kristin Thompson
Two 'Stylists' of the Teens: Franz Hofer and Yevgenii Bauer, Yuri Tsivian
The Voyeur at Wilhelm's Court: Franz Hofer, Elena Dagrada
Notes
Bilbiography
Publication Acknoledgments
List of Contributors
