The Weimar period in Germany was a time of radical change, when the traditions and social hierarchies of Imperial Germany crumbled, and a young, deeply conflicted republic emerged. Modernity brought changes that reached deep into the most personal aspects of life, including a loosening of gender roles that opened up new freedoms and opportunities to women. The screen vamps, garçonnes, and New Women in this movie-hungry society came to embody the new image of womanhood: sexually liberated, independent, and—at least to some—deeply threatening. In Gender and the Uncanny in Films of the Weimar Republic, author Anjeana K. Hans examines largely forgotten films of Weimar cinema through the lens of their historical moment, contemporary concerns and critiques, and modern film theory to give a nuanced understanding of their significance and their complex interplay between gender, subjectivity, and cinema. Hans focuses on so-called uncanny films, in which terror lies just under the surface and the emancipated female body becomes the embodiment of a threat repressed. In six chapters she provides a detailed analysis of each film and traces how filmmakers simultaneously celebrate and punish the transgressive women that populate them. Films discussed include The Eyes of the Mummy (Die Augen der Mumie Mâ, Ernst Lubitsch, 1918), Uncanny Tales (Unheimliche Geschichten, Richard Oswald, 1919), Warning Shadows (Schatten: Eine nächtliche Halluzination, Artur Robison, 1923), The Hands of Orlac (Orlacs Hände, Robert Wiene, 1924), A Daughter of Destiny (Alraune, Henrik Galeen,1928), and Daughter of Evil (Alraune, Richard Oswald, 1930). An introduction contextualizes Weimar cinema within its unique and volatile social setting. Hans demonstrates that Weimar Germany’s conflicting emotions, hopes, and fears played out in that most modern of media, the cinema. Scholars of film and German history will appreciate the intriguing study of Gender and the Uncanny in Films of the Weimar Republic.

'She has a crisp and intelligent style, and a real way with tension' MO HAYDER When schoolteacher Trixie Smith turns up asking questions about legendary film actress Lucretia von Wolff, Lucy Trent is not unduly alarmed. She rather enjoys the notoriety surrounding her glamorous but infamous grandmother, whose lovers were legion, whose scandals were numerous, whose life ended abruptly in a bizarre double murder and suicide at the Ashwood film studios in 1952. Trixie Smith has uncovered information which she believes throws new light on the Ashwood case. In particular, she wants to know more about Alraune, the illegitimate child Lucretia was alleged to have borne at the outbreak of WWII. The child whose existence is surrounded in mystery. The child who may never have existed at all. But Trixie Smith's enquiries are brought to an untimely end. Some days later, her mutilated corpse is discovered at the derelict site of the old Ashwood studios. In the ensuing murder investigation, Lucy is to discover disturbing facts about her family's poignant and often tragic history - a history which stretches from the glittering concert halls of 1920s Vienna to the bleak environs of wartime Auschwitz - and at the heart of it all lies the shocking truth about the mysterious child called Alraune.

The First Volume in the Frank Braun trilogy. This is the first uncensored English translation of "The Sorcerer's Apprentice". It does not include any extra material. Illustrations by Mahlon Blaine.

When Germany lost its colonial empire after the Great War, many Germans were unsure how to understand this transition. They were the first Europeans to experience complete colonial loss, an event which came as Germany also wrestled with wartime collapse and foreign occupation. In this book the author considers how Germans experienced this change from imperial power to postcolonial nation. This work examines what the loss of the colonies meant to Germans, and it analyzes how colonialist categories took on new meanings in Germany's «post-colonial» period. Poley explores a varied collection of materials that ranges from the stories of popular writer Hanns Heinz Ewers to the novels, essays, speeches, pamphlets, posters, and archival materials of nationalist groups in the occupied Rhineland to show how decolonization affected Germans. When the relationships between metropole and colony were suddenly severed, Germans were required to reassess many things: nation and empire, race and power, sexuality and gender, economics and culture.

The House of Incest, Anais Nin's famous prose poem, was first published in Paris in 1936 and immediately drew attention from the era's prominent writers, including Henry Miller and Lawrence Durrell. While written in English, it is considered a landmark work in the French surrealist tradition and one of the most unique books in 20th century literature.

Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles on film spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available and augmented by the increased availability of films from the period on DVD. This wealth of new source material calls for a re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume. Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P. Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor and Chair of German at Amherst College.