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Activating the Differences: Expressionist Film and Early Weimar Cinema - Dietrich Scheunemann Weimar Cinema, Mobile Selves, and Anxious Males: Kracauer and Eisner Revisited - Thomas Elsaesser Revolution, Power, and Desire in Ernst Lubitsch's Madame Dubarry - Marc Silberman Bringing in the Ghostly to Life: Fritz Lang and his Early Dr. Mabuse Films - Norbert Grob Murnau--a Conservative Filmmaker? On Film History as Intellectual History - Thomas Koebner The Double, the Decor,and the Framing Device: Once more on Robert Wiene's Cabinet of Dr. Caligari - Dietrich Scheunemann Film as Graphic Art: On Karl Heinz Martin's From Morn to Midnight - Juergen Kasten Episodic Patchwork: The Bric-a-Brac Principle in Paul Leni's Waxworks - Juergen Kasten Entrapment and Escape: Readings of the City in Karl Grune's The Street and G. W. Pabst's The Joyless Street - Anthony Coulson Fragmenting the Space: On E. A. Dupont's Variete - Thomas Brandlmeier On Murnau's Faust: A Generic Gesamtkunstwerk? - Helmut Schanze Painting in Time and Visual Music: On German Avant-Garde Film of the 1920s - Walter Schobert Ruttmann, Rhythm, and Reality: A Response to Kracauer's Interpretation of Berlin. Symphony of a Great City - David Macrae
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