Footnotes

¹ I am grateful to Molly Harrabin and Mary Hennessy for sharing their research and expertise with me. Their article on Oswalda's career for the Women Film Pioneers Project website will be published shortly. For feminist perspectives on Oswalda's comedies, see, among others, Heide Schlüpmann: ""Ich möchte kein Mann sein" (I don't want to be a man). Ernst Lubitsch, Sigmund Freud, and early German comedy." In: Frank Kessler, Sabine Lenk, Martin Loiperdinger (eds.): Früher Film in Deutschland (Early Film in Germany). Basel 1993 (KINtop. Yearbook for Research into Early Film 1), pp. 75–92; Janet McCabe: "Regulating Hidden Pleasures and "Modern" Identities. Imagined Female Spectators, Early German Popular Cinema, and The Oyster Princess (1919)." In: Randall Halle, Margaret McCarthy (eds.): Light Motives. German Popular Cinema in Perspective. Detroit: Wayne State University Press, 2003, pp. 24-40; Claudia Preschl: Lachende Körper. Komikerinnen im Kino der 1910er Jahre. Vienna 2008, esp. pp. 151-156.

² Announcement by the Union projection company in Der Kinematograph, no. 701/702, June 27, 1920.

³ See the note on this and other unrealized Lubitsch projects in Wolfgang Jacobsen: "Filmografie." In: Hans Helmut Prinzler, Enno Patalas (eds.): Lubitsch. Munich, Lucerne 1984, pp. 200–223, there pp. 222f. and Scott Eyman: Ernst Lubitsch. Laughter in Paradise. Baltimore: Wayne State University Press, 2000, p. 381. The film title can also be found in the Filmportal, but without any indication that it was never made.

⁴ Joseph McBride: How Did Lubitsch Do It? New York: Columbia University Press, 2018, p. 138. Many thanks to Molly Harrabin for pointing this out. See also Eyman: Ernst Lubitsch, pp. 87-89.

⁵ See the 12-minute "Screen Tests for Marguerite and Faust" (1923), shown in 2023 in the series "Cento anni fa" (100 Years Ago), curated by Stefan Drößler and Oliver Hanley.

⁶ Gaylin Studlar: "Oh, "Doll Divine": Mary Pickford, Masquerade, and the Pedophilic Gaze." In: Camera Obscura, Vol. 16, No. 3, 2001, pp. 196-227.

⁷ Allyson Nadia Field: "Editor's Introduction: Sites of Speculative Encounter." In: Feminist Media Histories, Issue 8, No. 2, 2022, p. 3.

⁸ Saidiya Hartman: "Venus in Two Acts." In: Small Axe, No. 26, June 2008, pp. 1-14; Samantha N. Sheppard: "Changing the Subject: Lynne Nottage's By the Way, Meet Vera Stark and the Making of Black Women's Film History." In: Feminist Media Histories, No. 2, 2022, p. 14–42; Alix Beeston and Stefan Solomon (eds.): Incomplete. The Feminist Possibilities of the Unfinished Film. Berkeley: University of California Press, 2023.

⁹ The need to write about German films that are no longer visible applies particularly to comedies by and starring women, which were once hugely popular. These comedies are now almost entirely absent from an otherwise male-dominated canon with its preference for "important," serious topics.

¹⁰ Devan Scott aptly describes Die Puppe as "Expressionist birthday cake" in his excellent podcast, How Would Lubitsch Do It?, which chronologically covers Lubitsch's entire filmography, including lost (but not unmade) films.

Essays

NEW IN THIS EDITION

I. WEIMAR INTERNATIONAL

II. THEORETICAL PERSPECTIVES

III. FILMS REVISITED

IV. REVIEWS AND REFLECTIONS

I. WEIMAR INTERNATIONAL

II. THEORETICAL PERSPECTIVES

III. FILMS REVISITED

IV. REVIEWS AND REFLECTIONS