ProletarianDreamScreen NazisTopographiesGermanCinema2

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Turkish German CinemaBerlin Divided CityConvergenceFraming the Fifties


  • The Proletarian Dream: Socialism, Culture, and Emotion. Berlin: De Gruyter, 2017 380 pp. ISBN 978-3-11-055086-3 (cloth). Link
  • Screen Nazis: Cinema, History, and Democracy. Madison: University of Wisconsin Press, 2012. Shortlisted for Willy Haas Award. Link
  • Topographies of Class: Urban Architecture and Mass Utopia in Weimar Berlin. Ann Arbor: University of Michigan Press, 2008. 324 pp. ISBN-13: 978-0472050383 (paperback). Link
  • German National Cinema. Expanded and revised edition. London: Routledge, 2008. ISBN-13: 978-0415420983 (paperback). First published by Routledge in 2002. Translated into Japanese in 2010 by Choeisha Tokyo. Translated into German as Film in Deutschland: Geschichte und Geschichten ab 1895. Reinbek: Rowohlt (rowohlts deutsche enzyklopädie), 2004. ISBN-13: 978-3499556630 (paperback). Link
  • Popular Cinema of the Third Reich. Austin: University of Texas Press, 2001. 272 pp. ISBN-13: 978-0292734586 (paperback). Link
  • The Cinema’s Third Machine: German Writings on Film 1907-1933. Lincoln: University of Nebraska Press, 1993. ISBN-13: 978-0803223653 (hardcover). Winner of 1994 German Studies Association/DAAD Book Prize. Link
  • Passions and Deceptions: The Early Films of Ernst Lubitsch. Princeton: Princeton University Press, 1992. ISBN-13: 978-0691008783 (paperback). Link


  • Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens. Co-edited with Barbara Mennel. New York: Berghahn, 2012.  978-1-78238-665-0 (paperback) Link
  • Berlin, Divided City, 1945-89. Co-edited with Philip Broadbent. Oxford: Berghahn Books, 2010. 978-0-85745-802-5 (paperback) Link
  • Convergence Media History. Co-edited with Janet Staiger. London: Routledge, 2009. 978-0415996624 (paperback) Link
  • Framing the Fifties: Cinema in a Divided Germany. Co-edited with John Davidson. Oxford: Berghahn Books, 2007. ISBN-13: 978-1845455361 (paperback). Link

Recent Articles in Journals and Anthologies (2000 – Present)

  • “Walter Felsenstein and the DEFA Opera Film,” in Reimagining DEFA: East German Cinema in National and Transnational Contexts, ed. Seán Allan and Sebastian Heiduschke, 191-209. New York: Berghahn Books, 2016.“The Münchhausen Complex: From Adaptation to Intermediality,” ILCEA (Revue de l’Institut des langues et cultures d’Europe et d’Amérique 23 (July 2015): 1-13. Online
  • Public Figures, Political Symbols, Popular Stars: Actors in DEFA Cinema and Beyond,” in DEFA at the Crossroads of East German and International Film Culture: A Companion, ed. Marc Silberman and Henning Wrage, 197-220. Berlin: de Gruyter, 2014. PDF
  • “The Lives of Objects,” in Das Leben der Anderen and Contemporary German Film, ed. Paul Cooke, 199-219. Berlin: de Gruyter, 2013. PDF
  • “Politische Satire im Kalten Krieg: Der Hauptmann von Köln und Rosen für den Staatsanwalt,” in DEFA International: Grenzüberschreitende Filmbeziehungen vor und nach dem Mauerbau, ed. Michael Wedel, Talea Lambusch, and Andy Raeder, 149-63. Marbach: Schüren, 2013. PDF
  • “Weimar Film Theory,” in Weimar Critical Thought: A Contested Legacy, ed. Peter Gordon and John P. McCormick, 273-90. Princeton: Princeton University Press, 2013.
  • “Contemporary German Film Studies in Ten Points,” German Studies Review 36.3 (2013): 643-51.
  • “German Cinema as European Cinema: Learning from Film History,” Film History 25.1-2 (2013): 110-17. PDF
  • “Film, Folk, Class: Béla Balázs on Spectatorship,” in Film—Kino—Zuschauer: Filmrezeption/Film Reception, ed. Irmbert Schenk and Margrit Tröhler, 158-71. Marburg: Schüren, 2010. PDF
  • “Erziehung zur Demokratie: Trümmerfilme made in Hollywood,” in Träume in Trümmern: Filmproduktion und –propaganda im Europa der Nachkriegszeit 1945-60, ed. Johannes Roschlau, 85-95. Munich: edition text + kritik, 2010.
  • “Political Affect in the Antifascist Films of Frank Beyer and Konrad Wolf,” in Screening War: New Perspectives on German Suffering, ed. Marc Silberman and Paul Cooke, 102-22. Rochester: Camden House, 2010.
  • “F. W. Murnau’s The Last Laugh,” in The Companion to Weimar Cinema, ed. Noah Isenberg, 115-33. New York: Columbia University Press, 2008. PDF
  • “Colorful Worlds: The West German Revue Film of the 1950s,” The Cosmopolitan Screen: Germany and the Global Imaginary, 1945 to the Present, ed. Lutz Koepnick and Stephan Schindler, 58-76. Ann Arbor: University of Michigan Press, 2007. PDF
  • “Expressionism and Film,” Companion Volume on German Expressionism, ed. Neil Donahue, 321-41. Camden House, N. J., 2005. PDF
  • “Anti-Americanism and the Cold War: On the DEFA Berlin Films,” Americanization and Anti-Americanism: The Impact of American Culture on Germany After 1945, ed. Alexander Stephan, 148-65. New York: Berghahn, 2004. PDF
  • “A Stranger in Berlin: On Joseph Roth’s Urban Discourse,” Studies in 20th and 21st Century Literature 28.1 (2004): 47-75.“Provocations of the Disembodied Voice: Song and the Transition to Sound in Berger’s Day and Night,” in Peripheral Visions: The Hidden Stages of Weimar Cinema, ed. Ken Calhoon, 55-72. Detroit: Wayne State University Press, 2001.