Rethinking Jewishness in Weimar cinema / edited by Barbara Hales and Valerie Weinstein

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Intro -- Contents -- Figures -- Acknowledgments -- Introduction - The Jewishness of Weimar Cinema -- Part I - Jewish Visibility On and Off Screen -- Chapter 1 - Humanizing Shylock: The "Jewish Type" in Weimar Film -- Chapter 2 - Energizing the Dramaturgy: How Jewishness Shaped Alexander Granach's Performances in Weimar Cinema -- Chapter 3 - The Jewish Vamp of Berlin: Actress Maria Orska, Typecasting, and Jewish Women -- Chapter 4 - Jewish Comedians beyond Lubitsch: Siegfried Arno in Film and Cabaret -- Chapter 5 - Alfred Rosenthal's Rhetoric of Collaboration, the Politics of Jewish Visbility, and Jewish Weimar Film Print Culture -- Part II - Coding and Decoding Jewish Difference -- Chapter 6 - Two Worlds, Three Friends, and the Mysterious Seven-Branched Candelabrum: Jewish Filmmaking in Weimar Germany -- Chapter 7 - Homosexual Emancipation, Queer Masculinity, and Jewish Difference in Anders al die Andern (1919) -- Chapter 8 - Der Film ohne -- Chapter 9 - "The World Is Funny, Like a Dream": Franziska Gaal's Verwechslungskomödien and Exile's Crisis of Identity -- Part III - Jewishness as Antisemitic Construct -- Chapter 10 - Cinematically Transmitted Disease: Weimar's Perpetuation of the Jewish Syphilis Conspiracy -- Chapter 11 - The Einstein Film: Animation, Relativity, and the Charge of "Jewish Science" -- Chapter 12 - "A Clarion Call to Strike Back": Antisemitism and Ludwig Berger's Der Meister von Nürnberg (1927) -- Chapter 13 - Banning Jewishness: Stefan Zweig, Robert Siodmak, and the Nazis -- Chapter 14 - Detoxification: Nazi Remakes of E.A. Dupont's Blockbusters -- Coda -- Chapter 15 - "Filmrettung: Save the Past for the Future!": Film Restoration and Jewishness in German and Austrian Silent Cinema -- Afterword -- Index.