Hans, Anjeana K., and Philipp Stiasny. “The Provincial Globalism of Weimar Cinema: Pola Negri, Franziska Gaal, and the Foreign Accent in German Silent and Sound Film.” German Life and Letters, 2026-01, print article in press.
Kessler, Frank, and Sabine Lenk. ” ‘Quod non est in Berolina, non est in Mundo’: Views from the Periphery.” German Life and Letters, 2026-01, print article in press.
Merritt, Adrienne N. “Nosferatu (1922) and The Afterlives of Property.” German Life and Letters, 2026-01, print article in press.
Book Chapters
Silva, Francisco Santos. “Esoterism and Occulture in the Cinema of the Weimar Republic.” Brill, 2026. More info here
Süselbeck, Jan. “Shell Shock Cinema? On Fascist and Antisemitic Codes in Fritz Lang’s Adaptation of Thea von Harbou’s Metropolis.” Brill, 2026. More info here
Ganeva, Mila. “Die Magie der echten Kabarettpersönlichkeit. Die Komikerin Ilse Bois und ihr Filmschaffen von 1913 bis 1927.” Filmblatt, Vol. 30 (88/89), 5 – 24.
Griffee, Nathanial. “Examining the Goals and Management Style of Dr. Emil Georg von Stauß, the Weimar Film Industry’s Most Powerful Man: 1917 – 23.” Film History, Vol. 35 (4), 22 – 48.
Hennefeld, Maggie. “Ossi gegen Gott und Goethe. Ernst Lubitschs „Mephistophela“- Projekt von 1920 und die Freuden des kontrafaktischen Feminismus.” Filmblatt, Vol. 30 (88/89), 25 – 33.
Nagl, Tobias. “Mir scheint, ich bin farbenblind!” Nachdenken über Rassismus, Blackface und Humor in zwei Filmen Richard Eichbergs.” Filmblatt, Vol. 30 (88/89), 37 – 54.
Schönrock, Tobias. “Dichtung und Schwerkraft. Komik und Medienreflexion in Hans Tintners Die Jugendgeliebte (Goethes Frühlingstraum) von 1930.” Filmblatt, Vol. 30 (88/89), 53 – 62.
Seyfert, Andréas-Benjamin. “Mit Schmiss, Charme und Champagner. Fred Sauers Lustspiel Ein Walzer im Schlafcoupé (1930).” Filmblatt, Vol. 30 (88/89), 63 – 72.
Rogowski, Christian. “Ein Eulen-Ei im Kuckucks-Nest. Max Pallenberg in Fritz Kortners Tonfilmkomödie Der brave Sünder (1931).” Filmblatt, Vol. 30 (88/89), 75 – 88.
Charen, Hannes. “Nihilism and the conservative revolution: from Play to Testament in Fritz Lang’s Weimar Mabuse films.” Studies in European Cinema, 2025-07, p.1-27
Densky, Doreen. “Against the Tide and with the Flow: Water and Urban Masses,“in Weimar Cinema.” German Studies Review, 2025-02, Vol.48 (1), p.21-42.
Kettler, Mark T. “A Death of Despair in Wisborg.” Senses of Cinema 114 (2025).
Groß, Bernhard. “Tell the Truth: A Comparison of Gustav Fröhlich’s and Heinz Rühmann’s Film Roles Before, During, and After the Third Reich.”, Journal of Film, Radio and Television (2025), 1 – 15.
Hall, Sara F. “GSA Presidential Address 2024: 1924/2024: Reflections on a Cinematic Centenary.” German Studies Review, vol. 48, no. 1, 2025, 131 – 142.
Hennessy, Mary. “Ein altes Thema, neu gesehen: Remediating Weimar Modernity in Wolfgang Liebeneiner’s Großstadtmelodie (1943).” German Studies Review, vol. 48, no. 1, 2025, 93 – 110.
Dawson, Rebeccah. “The First German Football Film. Zoltan Korda’s Die Elf Teufel and the Cultural Transgressions of the Late Weimar Republic.” Colloquia Germanica, vol. 57, no. 2, 2024.
Dubbels, Elke. “Filmisches Schreiben‘ – Schreiben über den Film in der Weimarer Republik: Zu Siegfried Kracauers Roman Ginster.” KulturPoetik (Göttingen), vol. 24, no. 1, 2024, pp. 82–105.
Gueneli, Berna. “The Arabian Nights in Weimar Cinema: Recontextualizing Campy Fantasies of Gender, Sex, and Ethnicity in Lotte Reiniger’s The Adventures of Prince Achmed (1926) and Ernst Lubitsch’s Sumurun (1920).” Colloquia Germanica, vol. 57, no. 4, 2024.
Hennessy, Mary. “The Woman with Scissors and Glue: Film Editing and Radical Montage in Weimar Cinema.” New German Critique, vol. 51, no. 2, 2024, pp. 1–26.
Shubert, A., (2024) ““To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust”, Film Criticism 48(1).
Elduque, Albert. “Intrepid Mountaineers and Damsels in Distress: The Sportswoman in the Bergfilm.” In L’Atalante 37 (Jan.-June 2024): 45-60.
Haque, Kamaal. “Joining the Ranks: Arnold Fanck’s Later Films.” Colloquia Germanica 56, no. 4 (2024): 325–339.
Campregher Paiva, Isadora ; Diecke, Josephine, “Revisiting Weimar Film Reviewers’ Sentiments: Integrating Lexicon-Based Sentiment Analysis with Large Language Models.” Journal of Cultural Analytics, 2024-07, Vol.9 (4)
Book Chapters
Blumenthal-Barby, Martin. “In the Name of the Law: Lang’s M.” In Cinema and Surveillance: The Asymmetric Gaze. Routeledge, 2024. More info here
Crow, Charles L. “The Shadow Line: Noir and California Gothic.” In California Gothic: The Dark Side of the Dream, 45–56. Anthem Press, 2024. More info here
Friedman, Sara. “Afterlives of Anders Als Die Andern and of Weimar.” In Central European History. Cambridge University Press, 2024. More info here
Giesen, Rolf. “The Golem Anticipates Fantasia.” In Animation in Germany. CRC Press, 2024. More info here
Giesen, Rolf. “Mickey Who?” In Animation in Germany. CRC Press, 2024. More info here
Heiss, Lokke. “Nosferatu and Its Relationship to German Expressionist Film.” In The Palgrave Handbook of the Vampire, edited by Simon Bacon. Springer International Publishing, 2024. More info here
Tratnik, Polona. “Expressionism and Weimar Cinema.” In The European Avant-Garde: A Hundred Years Later, Vol. 1. Brill, 2024. More info here
von Moltke, Johannes. “The Silent Film Criticism of Siegfried Kracauer.” In The Oxford Handbook of Silent Cinema, edited by Rob King and Charlie Keli, Oxford University Press, 2024. More info here
Heiss, Lokke; Bacon, Simon, “Nosferatu and Its Relationship to German Expressionist Film,” in The Palgrave Handbook of the Vampire, 2024, p.381-400. More info here
Bergstrom, Janet. “Frozen Justice : Murnau in Alaska.” In Film History: An International Journal 35, no.1 (2023): 128–144.
Campregher Paiva, Isadora. “Male and Female Villains in Weimar Cinema: Variations on Male Anxieties about Loss of Power.” Saeculum 73, no. 1 (2023): 17–42.
Gassin, Alexia. “The Formalist Cinematographic Theory: a Refined Thinking of the Expressionist Film Conception?” Linguistic Frontiers 6, no. 1 (2023): 23–28.
Gueneli, Berna. “Art, Artifice, and Eroticized Infantilization: Imagining Japanese Femininities in the Weimar Republic in Fritz Lang’s Harakiri (1919) and Kapitän Mertens’s ‘Kio, Die Lasterhafte Kirschblüte’ (1924).” The German Quarterly 96, no. 3 (2023): 326–343.
Guerin, Frances. “Fritz Lang’s Cinema of Interruption and the Narrative of Modernity.” Screen London 64, no. 1 (2023): 111–117.
Harrabin, Molly. “Racially Profiled?: ‘Jewish’ Vampirism in Friedrich Wilhelm Murnau’s Nosferatu (1922).” Studies in European Cinema (2023): 1–12.
Hutchinson, Pamela. “How Asta Nielsen Transformed the Screen.” Feminist Media Histories 9, no. 2 (2023): 131–143.
Lewit, Ido. “Dr Mabuse Today: The Centennial of Fritz Lang’s Dr Mabuse, the Gambler . Introduction.” Screen (London) 64, no. 1 (2023): 82–86.
Lewit, Ido. “Rethinking Inside and Outside: The Door in Ernst Lubitsch’s When I Was Dead and Charlie Chaplin’s The Adventurer.” Film-Philosophy 27, no. 1 (2023): 79–97.
Macho, Thomas. “Debates about the Death Drive: Nosferatu at the Zoo,” CoSMO: Comparative Studies in Modernism, no. 22 (Spring 2023): 53-66
Merkin, Noa. “Love Objects: Eros and the Materialistic Aesthetics of Ernst Lubitsch.” Film- Philosophy 27, no. 1 (2023): 64–78.
Nuy, Sandra. “Die Neue Frau – Gender Politics in Fernsehserien Über Die Weimarer Republik.” GENDER – Zeitschrift für Geschlecht, Kultur und Gesellschaft 15, no. 2 (2023): 56– 70.
Wegner, Dennis. “Gothic Cinema and Sexology in the Weimar Republic: Towards a Queer Gothic Aesthetic on Screen”. Queer Gothic: An Edinburgh Companion, edited by Ardel Haefele-Thomas, Edinburgh: Edinburgh University Press, 2023, pp. 78–96.
Book Chapters
Jeanpaul Goergen, “Der Autor mit der Kinamo. Heinrich Hauser und der Film”. In: Sebastian Susteck (Hg.): Grenzgänger des 20. Jahrhunderts. Perspektiven auf das literarische, journalistische und filmische Werk Heinrich Hausers (1901–1955), S. 83-112. Göttingen 2023. More info here.
Erwin, Max. “Modernity and Nazism in German Film Music: Werner Egk and Walter Gronostay.” In The Different Faces of Politics in Literature and Music. Routledge, 2023. More info here.
Plass, Ulrich. “Unemployment, Organization, and Reproductive Self-Determination in Kuhle Wampe.” In Representing Social Precarity in German Literature and Film, edited by Sophie Duvernoy, Karsten Olson and Ulrich Plass , 203–235. Bloomsbury Academic, 2023. More info here
Rhodes, Gary D. “Nosferatu, eine Symphonie des Grauens.” In Vampires in Silent Cinema, 138-155. Edinburgh: Edinburgh University Press, 2023. More info here
Decker, Philip. “Screening White Reassurance: Insecurity and Redemption in Four German Africa Films.” Oxford German Studies, 2022, Vol.51 (2), p.161-185
Dobryden, Paul. “Marked Man: Fantasies of the Able Body in Fritz Lang’s M.” German studies review 45, no. 3 (2022): 407–428.
Evans, Owen. “Berlin: Palimpsests of a Great City.” Landscape Research 47, no. 7 (2022): 840-850.
Henkel, Brook. “Mabuse Returns: Fritz Lang, 1950s Berlin, and the Afterlife of Nazi Television.” New German Critique 146 (August 2022): 161-186.
Hughes, Jon. “‘Time and Space in the Depiction of Workers’ Leisure in Mother Krause’s Journey to Happiness, People on Sunday and Kuhle Wampe’: Submitted to: Studies in European Cinema.” Studies in European cinema 19, no. 4 (2022): 362–379.
Lynn, Jennifer. “Contesting and Critiquing the Neue Frau: Modern Women in the Communist Illustrated Press of the Weimar Republic.” Media history 28, no. 3 (2022): 337–354.
Radaeva, E. A. “Traditions of German Expressionism in the Cinematography of the Second Half of the 20th – Early 21st Centuries.” Concept: philosophy, religion, culture 6, no. 3 (2022): 156–170.
Schwebel, Shoshana. “Lulu’s Smile: An Archive of Trauma in Die Büchse der Pandora (1929).” The German Quarterly 95, no. 2 (2022): 149–166.
Smith, Jill Suzanne. “Lotte at the Movies: Gendered Spectatorship and German Histories of Violence in Babylon Berlin.” The Germanic review 97, no. 3 (2022): 254–271.
Watzke, Petra. “Women, Cinema, and the First World War in Rosa Porten’s Film Wanda’s Trick (1918).” The German quarterly 95, no. 2 (2022): 130–148.
Wiegand, Daniel. “‘Islands of Sound in the Silent Flow of Film’: German Part-Talkies Around 1930 as a Hybrid Medium.” Historical journal of film, radio, and television 42, no. 3 (2022): 427–450.
Book Chapters
Aitken, Ian. “Aestheticism and Engagement in Weimar Cinematic Modernism and Soviet Montage Cinema.” In European Film Theory and Cinema, 47–68. Edinburgh: Edinburgh University Press. 2002/2022.
König, Christiane. “Weimar Republic/Germany: Film and Cinema, Gender and Sexuality.” In Performative Figures of Queer Masculinity, 169–372. Stuttgart: J.B. Metzler, 2022.
Nagl, Tobias. “Policing Race: Postcolonial Critique, Censorship and Regulatory Responses to the Cinema in Weimar Film Culture.” In The Emergence of Film Culture, 16:21–45. New York, Oxford: Berghahn Books, 2022.
Parker, Luke Luke. “The Weimar Picture Palace: From Film to Cinema in Berlin Exile (1925–1928).” In Nabokov Noir, 30–68. Cornell University Press, 2022.
Schönfeld, Christiane. “Berlin Alexanderplatz.” In The Palgrave Encyclopedia of Urban Literary Studies, 210–226. Cham: Springer International Publishing, 2020/2022.
Schönfeld, Christiane. “Women in the City: Berlin (1900–1933).” In The Palgrave Encyclopedia of Urban Literary Studies, 1897–1908. Cham: Springer International Publishing, 2020/2022.
Walk, Cynthia. “Anna May Wong and Weimar Cinema: Orientalism in Postcolonial Germany.” In Beyond Alterity, 7:135–167. New York, Oxford: Berghahn Books, 2014/2022.
Allred, Mason Kamana. “Dark Temporalities: Technologies of Race and Lighting in Ernst Lubitsch’s The Loves of Pharaoh (1922).” Film History: An International Journal 33, no. 2 (2021): 60-90.
Brown, Patrick S. “Flights of Fancy: The Kriegsspiel and the Cinema in Weimar Germany.” German studies review 44, no. 3 (2021): 449–468.
Cieslik, Emma. “The Monster and the Mob: A Critical Analysis of Fritz Lang’s Fury (1936) and James Whale’s Frankenstein (1931).” Film Matters 12, no. 2 (2021): 36–49.
Friedman, Sara. “Universal Language with a German Accent: Conrad Veidt in Silent Hollywood.” German Studies Review 44, no. 2 (2021): 293–312.
Magnusen, Kaia. “Visualizing Disease and ‘Depravity’ in the Weimar Republic: The Film Roles and Dance Performances of Anita Berber and Otto Dix’s Bildnis der Tänzerin Anita Berber.” Seminar: A Journal of Germanic Studies 57, no. 4 (2021): 335–359.
McCann, Andrew. “Melancholy and the Masses: Siegfried Kracauer and the Media Concept.” Discourse 43, no. 1 (2021): 150-170.
Peabody, Seth. “Infrastructure, Water, Ecology: Fritz Lang’s Metropolis as Ecological Archive.” Colloquia Germanica 53, no. 2-3 (2021): 249–267.
Sheil, Aine. “Alienated Entertainment: Ludwig Berger’s Meistersinger Film Der Meister von Nurnberg (1927).” Journal of the Royal Musical Association 146, no. 2 (2021): 367–395.
Young, Andrew Phillip. “Noir and Exilic Cinema: Fritz Lang’s Fury, Trauma, and the German Critique.” The Journal of Popular Film and Television 49, no. 2 (2021): 70–80.
Book Chapters
Gardner, Colin. “‘The Multiplicity Is Among Us’: Silence and the Machinic Phylum in Fritz Lang’s M (1931).” In Chaoid Cinema. Edinburgh University Press, 2021.
Jayamanne, Laleen. “A Gift Economy: G. W. Pabst’s Pandora’s Box (1929).” 23–53. In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick and Ruiz. Amsterdam: Amsterdam University Press, 2021.
Knowlton, Barry C, and Eloise R Knowlton. “Murnau’s Faust and the Weimar Moment.” In Giving the Devil His Due, 27–41. New York, USA: Fordham University Press, 2021.
Finocchiaro, Francesco. “‘In the Mirror of Criticism: The Film Music Debate on Reichsfilmblatt from 1924 to 1929 (with a source catalogue).” Fontes Artis Musicae 67, no. 1 (2020): 34–62.
Finocchiaro, Francesco. “Operatic Works in Silent Cinema: Toward a Translational Theory of Film Adaptations.” Music and the Moving Image 13, no. 3 (January 2020): 49–71.
Lindner, Ines. “Technik Und Magie: Benjamin, Blossfeldt und „Das Blumenwunder: Zur Rezeption eines wieder entdeckten Stummfilms der Weimarer Republik.” Internationales Jahrbuch für philosophische Anthropology 9, no. 1 (2020): 187–222.
Pryt, Karina. “Importierte Unterhaltung: Filme der Deutschen Ufa in Warschau 1919– 1939.” Geschichte und Gesellschaft 46, no. 1 (2020): 122–54.
Henkel, Dennis, Eelco M. Wijdicks, and Axel Karenberg. “Nicht nur Slapstick: Stummfilme als unterschätzte Zeugen der Medizingeschichte.” Deutsche medizinische Wochenschrift 145, no. 25 (2020): 1818–1827.
Zappe, Florian. “In the Shadow of the ‘Indeterminate Speech-Act’: The Populist Politics of Rumor in Fritz Lang’s Early Sound Films.” European Journal of American Studies 15, no. 4 (2020).
Book Chapters
Ashkenazi, Ofer. “The Menace and Promise of Heimat in the Early Weimar Era: E. A. Dupont’s Cinematic Landscapes.” In Anti-Heimat Cinema: The Jewish Invention of the German Landscape, 40–71. Ann Arbor: University of Michigan Press, 2020.
Ksenofontova, Alexandra. “The Weimar Screenplay: ‘Expressionism’ and Literary Adaptations.” In The Modernist Screenplay: Experimental Writing for Silent Film, 111–130. Cham: Springer International Publishing, 2020.
Mourenza, Daniel. “Film and the Aesthetics of German Fascism.” 117–151. In Walter Benjamin and the Aesthetics of Film. Amsterdam: Amsterdam University Press, 2020.
Zakai, Avihu. “Siegfried Kracauer’s From Caligari to Hitler: Weimar Cinema as Pandora’s Box.” In Jewish Exiles’ Psychological Interpretations of Nazism, 71–116. Cham: Springer International Publishing, 2020.
Beinroth, Carolin, and Claudia Bullerjahn. “Music in German Silent Cinema: Reception in the Film Trade Press 1907-1925.” The Journal of Film Music 7, no. 2 (2019): 21–35.
Brataas, Delilah Bermudez. “The Shadow’s Shadow, or Gendered Ambition in Asta Nielsen’s 1921 Hamlet.” Cahiers élisabéthains 98, no. 1 (2019): 3–21.
Cabrera, María Dolores. “The Aesthetics and the Influence of German Cinema in the Fantastic Cinema and Mexican Horror of the 1930s.” Brumal. Revista de Investigación sobre lo Fantástico = Research Journal on the fantastic (2019).
Cashill, Robert. “The Man Who Laughs.” Cineaste 44, no. 4 (2019): 66–67.
Collenberg-Gonzalez, Carrie. “Rape Culture and Dialectical Montage: A Radical Reframing of Menschen am Sonntag (1930).” Feminist German Studies 35 (2019): 85-109.
Deriaz, Margaret. “White Lightm White HeatL: Weimar Cinema;s Hidden Depths.” Sight and Sound 29, no. 6 (2019): 26–32.
Fuchs, Maria. “Hermann Kretzschmar’s Forgotten Heirs: “Silent”-Film Music as Applied Hermeneutics.” Music and the Moving Image 12, no.3 (January 2019): 1–24.
Gavaris, Peter. “The Horror of the Real: Filmic Form, The Century, and Fritz Lang’s M.” Dianoia 6, no. 1 (2019): 19–28.
Golding, David. “The Darker Side of Fritz Lang’s Metropolis: Coloniality in Modernist Cinema.” Postcolonial studies 22, no. 3 (2019): 303–324.
Hall, Sara F. “Babylon Berlin: Pastiching Weimar Cinema.” Communications-European Journal of Communication Research 44, no. 3 (2019): 304–322.
Kłys, Tomasz. “Fiancées and Widows: Women’s Encounters with Death in the Silent Films of Fritz Lang.” Images 25, no. 34 (2019): 155–162.
Oh, Soon-Hee. “Ausdruckskraft Stiller Bilder – Am Beispiel von Friedrich Wilhelm Murnaus Stummfilm Faust.” Journal for German Culture and Literature 28 (2019): 203–227.
Saull, Gerlad; Ells, Chrystene. “Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices.” Acta Universitatis Sapientiae. Film and Media Studies 16.1 (2019): 103–126.
Wodianka, Stephanie. “Fritz Lang in Hollywood: Das mythische Eigene und die Fremdheit des Mythos.” Cahiers d’études germaniques 1, no. 76 (2019): 189–200.
Book Chapters
Brook, Vincent. “Jews and Expressionism: ‘Performing High and Low.’” In Driven to Darkness: Jewish Émigré Directors and the Rise of Film Noir, 38–57. Ithaca, NY: Rutgers University Press, 2019.
Fabe, Marilyn. “Expressionism and Realism in Film Form: F.W. Murnau’s The Last Laugh and Charles Chaplin’s The Adventurer.” In Closely Watched Films, 37–58. Berkeley: University of California Press, 2019.
Gelbin, Cathy S. “From Sexual Enlightenment to Racial Antisemitism: Gender, Sex, and Jewishness in Weimar Cinema’s Monsters.” In Monsters and Monstrosity in Jewish History, 118–133. Bloomsbury Publishing Plc, 2019.
Gunning, Tom. “A Voice That Is Not Mine: Terror and the Mythology of the Technological Voice.” In The Voice as Something More: Essays Toward Materiality. University of Chicago Press, 2019.
Mennel, Barbara. “Modernity and the City Film: Berlin.” In Cities and Cinema, 19–38. 2nd ed. Routledge, 2019.
von Moltke, Johannes. “From Hitler to Caligari: Spaces of Weimar Cinema.” In The Curious Humanist: Siegfried Kracauer in America, 93–108. Berkeley: University of California Press, 2019.
Nossett, Lauren. “The Virginal Mother of Orphans and the Vamp Anti-Mother: Thea von Harbou and Fritz Lang’s Metropolis.” In The Virginal Mother in German Culture: From Sophie von La Roche and Goethe to Metropolis, 131–. Northwestern University Press, 2019.
Amoros Pons, Anna, and Nuria Gomez Otero. “The German Expressionist Film The Golem (1920): Study of the Musical Composition by Aljoscha Zimmerman.” Atalante (Valencia, Spain), no. 26 (2018): 181–197.
Cho, Hunsang. “They Saw Their Anxieties with Their Own Eyes - Social Anxieties of the Weimar Republic and the Expressionist Films.” Homo Migrans-Migration, Colonialism, Racism 18 (2018): 119–158.
Dumas, Louise. “Les scandaleuses de Weimar : Femmes et actrices dans le cinéma muet de G.W. Pabst.” Positif (Paris : 1952), no. 693 (2018): 94–97.
Helmers, Maike. “The Transition from the Silent into the Sound Era in German Cinema: The Innovative Use of Sound in Pabst’s Westfront 1918.” Music, Sound and the Moving Image 12, no. 2 (2018): 121–139.
Howe, Steven. “Justice in Crisis? On the Popular Jurisprudence of Weimar Film.” Polemos 12, no. 1 (2018): 147–165.
Pinkerton, Nick. “A Thousand Unblinking Eyes: A History Cinema and Surveillance from Fritz Lang to Michael Mann.” The Baffler, no. 40 (2018): 36–43.
Schaub, Christoph. “Labor-Movement Modernism: Proletarian Collectives between Kuhle Wampe and Working-Class Performance Culture.” Modernism/Modernity 25, no. 2 (2018): 327-348.
Sterritt, David. “Fritz Lang’s Silent Cinema: Far-Flung Geographies, Omniscient Masterminds, and the Laws of Life and Death.” Cinéaste 43, no. 3 (2018): 38–44.
Vollgraff, Matthew. “Vegetal Gestures: Cinema and the Knowledge of Life in Weimar Germany.” Grey Room 72 (2018): 68–93.
Book Chapters
Cowan, Michael. “Productive City: Ruttmann’s Düsseldorf: Kleiner Film einer großen Stadt.” In The City Symphony Phenomenon : Cinema, Art, and Urban Modernity Between the Wars. Milton: Routledge, 2018.
Ganeva, Mila. “Vicarious Consumption: Wartime Fashion in Film and the Press, 1939–44.” In Film and Fashion Amidst the Ruins of Berlin, 21–46, 2018.
Mungen, Anno. “Filmmusik und die multimedialen Künste des 19. Jahrhunderts.” In Filmmusik, 33–43. Wiesbaden: Springer Fachmedien Wiesbaden, 2018.
Sadowski, Piotr. “Expressionist Light and Shadows in Weimar Cinema.” In The Semiotics of Light and Shadows, 105–176. Bloomsbury Publishing Plc, 2018.
Slugan, Mario. “The Birth of Literary Montage from the Spirit of Contemporary Reviews of Berlin Alexanderplatz.” In Montage as Perceptual Experience, 65–107, 2018.