Conrad Veidt, a native of Berlin, began acting in small parts as an extra until called into service during World War I. After his discharge he began a theater career that subsequently led to films and more than one turn as a director. This work thoroughly details Veidt's film career. It lists all movies that he was involved in and provides a synopsis, cast and crew, and reviews of each film. There are many photographs, a list of films that he is thought possibly to have been involved in, and an extensive bibliography.

This book depicts the life of Conrad Veidt (1893-1943), the defining German actor of Expressionist cinema in the 1920s. His legendary performance in Das Cabinet des Dr. Caligari (1919/20) earned him the epithet "Demon of the Screen" and made Veidt an international star. To this day, Veidt is considered an icon of early horror film. He showed his acting range in more than a hundred films, among them masterpieces such as The Indian Tomb (1921), Orlac's Hands (1924), The Man Who Laughs (1928), The Thief of Bagdad (1940), and Casablanca (1942). Conrad Veidt used his acting career to become socially and politically involved, starting with the film Anders als die Anderen, the first film to advocate homosexual rights, in 1919. After the Nazis came to power, he left Germany to protest anti-Semitism and Nazi rule. Along with his biography, this book provides insights into the development of filmmaking from its beginnings through the 1940s, an epoch of cinematic art marked by technical innovations like sound and color film and by world-shaking events, including two world wars.

Moving away from the explicitly political content of his previous novels, Victor Hugo turns to social commentary in The Man Who Laughs, an 1869 work that was made into a popular film in the 1920s. The plot deals with a band of miscreants who deliberately deform children to make them more effective beggars, as well as the long-lasting emotional and social damage that this abhorrent practice inflicts upon its victims.

A Los Angeles Times bestseller A New York Times Book Review “Editor’s Choice” Selection “Even the die-hardest Casablanca fan will find in this delightful book new ways to love the movie they were certain they could never love more.” —Sam Wasson, best-selling author of Fifth Avenue, 5 A.M. Casablanca is “not one movie,” Umberto Eco once quipped; “it is ‘movies.’” Film historian Noah Isenberg’s We’ll Always Have Casablanca offers a rich account of the film’s origins, the myths and realities behind its production, and the reasons it remains so revered today, over seventy-five years after its premiere.

An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.

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.