دانلود کتاب Rethinking Jewishness in Weimar Cinema

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CONTENTS\nFIGURES\nACKNOWLEDGMENTS\nIntroduction THE JEWISHNESS OF WEIMAR CINEMA\nPART I JEWISH VISIBILITY ON AND OFF SCREEN\nChapter 1. Humanizing Shylock: The “Jewish Type” in Weimar Film\nChapter 2. Energizing the Dramaturgy: How Jewishness Shaped Alexander Granach’s Performances in Weimar Cinema\nChapter 3. The Jewish Vamp of Berlin: Actress Maria Orska, Typecasting, and Jewish Women\nChapter 4. Jewish Comedians beyond Lubitsch: Siegfried Arno in Film and Cabaret\nChapter 5. Alfred Rosenthal’s Rhetoric of Collaboration, the Politics of Jewish Visibility, and Jewish Weimar Film Print Culture\nPART II CODING AND DECODING JEWISH DIFFERENCE\nChapter 6. Two Worlds, Three Friends, and the Mysterious Seven-Branched Candelabrum: Jewish Filmmaking in Weimar Germany\nChapter 7. Homosexual Emancipation, Queer Masculinity, and Jewish Difference in Anders als die Andern (1919) 152 Valerie Weinstein\nChapter 8. Der Film ohne Juden: G.W. Pabst’s Die freudlose Gasse (1925)\nChapter 9. “The World Is Funny, Like a Dream”: Franziska Gaal’s Verwechslungskomödien and Exile’s Crisis of Identity\nPART III JEWISHNESS AS ANTISEMITIC CONSTRUCT\nChapter 10. Cinematically Transmitted Disease: Weimar’s Perpetuation of the Jewish Syphilis Conspiracy\nChapter 11. The Einstein Film: Animation, Relativity, and the Charge of “Jewish Science”\nChapter 12. “A Clarion Call to Strike Back”: Antisemitism and Ludwig Berger’s Der Meister von Nürnberg (1927)\nChapter 13. Banning Jewishness: Stefan Zweig, Robert Siodmak, and the Nazis\nChapter 14. Detoxification: Nazi Remakes of E.A. Dupont’s Blockbusters\nCODA\nChapter 15. “Filmrettung: Save the Past for the Future!”: Film Restoration and Jewishness in German and Austrian Silent Cinema\nAFTERWORD\nINDEX