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Bogdanovich, Peter "Ernst Lubitsch." In: Pieces of time; Peter Bogdanovich on the movies. [New York, Arbor House Pub. Co., 1973] --Main Stack PN1994.B563 --Moffitt PN1994.B563 Bourget, Eithne. Lubitsch, ou La satire romanesque Paris : Stock, c1987. --MAIN: PN1998.A3 L84 1987 Bowman, Barbara. Master space : film images of Capra, Lubitsch, Sternberg, and Wyler New York : Greenwood Press, 1992. --MAIN: PN1995.9.P7 B64 1992 --UNDE: PN1995.9.P7 B64 1992 Braudy, Leo "The double detachment of Ernst Lubitsch." In: Native informant : essays on film, fiction, and popular culture / Leo Braudy. p. 67-76 New York : Oxford University Press, 1991. --Main Stack PN1995.B719 1991 --Moffitt PN1995.B719 1991 Carringer, Robert L. Ernst Lubitsch : a guide to references and resources Boston : G. K. Hall, [1978] --MAIN: PN1998.A3 L832 --Moffitt: PN1998.A3 L832 Eyman, Scott Ernst Lubitsch : laughter in paradise New York : Simon & Schuster, c1993. --MAIN: PN1998.3.L83 E95 1993 Fleming, Alice Mulcahey "Ernst Lubitsch." In: The moviemakers / Alice Fleming. New York : St. Martin's Press, 1973 --Main Stack PN1998.A2.F538 Hake, Sabine "Lubitsch's period films as palimpsest: on Passion and Deception." In: Framing the past : the historiography of German cinema and television / edited by Bruce A. Murray and Christopher J. Wickham. p. 68-98 Carbondale : Southern Illinois University Press, 1992 --Main Stack PN1993.5.G3.F67 1992 --Moffitt PN1993.5.G3.F67 1992 Hake, Sabine "Transatlantic careers : Ernst Lubitsch and Fritz Lang." In: The German cinema book / edited by Tim Bergfelder, Erica Carter and Deniz Gokturk. London : BFI Pub., 2002. --Main Stack PN1993.5.G3.G47 2002 Hake, Sabine Passions and deceptions : the early films of Ernst Lubitsch Princeton, N.J. : Princeton University Press, c1992. --MAIN: PN1998.3.L83 H35 1992 Harvey, James Romantic comedy in Hollywood from Lubitsch to Sturges New York : Da Capo Press, 1998. --MAIN: PN1995.9.C55 H37 1998 Harvey, James Romantic comedy in Hollywood from Lubitsch to Sturges New York : A.A. Knopf, 1987. --Moffitt: PN1995.9.C55 H37 1987 Henry, Nora Ethics and social criticism in the Hollywood films of Erich von Stroheim, Ernst Lubitsch, and Billy Wilder Westport, Conn. : Praeger, 2001. --MAIN: PN1998.3.V67 H46 2001 "This study of Erich von Stroheim, Ernst Lubitsch, and Billy Wilder focuses on what the common ethical themes in their Hollywood films unveil about the cultural and intellectual heritage of these German and Austrian emigres and their influence on American culture. Aware of the influential power of their films, these filmmakers strove to raise the intellectual standard and the positive educational value of the American film. Brief individual biographies describe their heritage, major influences, and goals and draw connections among the three filmmakers in their preference for German and Austrian literature and philosophy, which focuses on social criticism, ethics, and the problem of identity. Detailed analyses of their individual styles of filmmaking and readings of selected films reveal how they put their philosophies into practice and to what extent they influenced one another. Films analyzed include The Merry Widow, The Wedding March, Heaven Can Wait, To Be or Not To Be, Sunset Boulevard, and The Fortune Cookie among others. By delineating their contributions to the development of modern film, this research explores the filmmakers' impact on film and cultural history." [publishers description] Nacache, Jacqueline Lubitsch Paris : Edilig, 1987. --MAIN: PN1998.A3 L8351 1987 Paul, William Ernst Lubitsch's American comedy New York : Columbia University Press, 1983. --MAIN: PN1998.A3 L8368 1983 --UNDE: PN1998.A3 L8368 1983 Poague, Leland A. The cinema of Ernst Lubitsch South Brunswick [N.J.] : A. S. Barnes, c1978. --MAIN: PN1998.A3 L837 --UNDE: PN1998.A3 L837 Renk, Herta-Elisabeth Ernst Lubitsch : mit Selbstzeugnissen und Bilddokumenten Reinbek bei Hamburg : Rowohlt, 1992. --MAIN: PN1998.3.L83 R46 1992 Rogowski, Christian "From Ernst Lubitsch to Joe May : challenging Kracauer's demonology with Weimar popular film." In: Light motives : German popular film in perspective / edited by Randall Halle and Margaret McCarthy. Detroit, Mich. : Wayne State University Press, c2003. Contemporary film and television series. --Main Stack PN1993.5.G3.L54 2003 Sarris, Andrew. "Ernest Lubitsch." In: "You ain't heard nothin' yet" : the American talking film, history & memory, 1927-1949 / Andrew Sarris. New York : Oxford University Press, 1998. --Main Stack PN1995.7.S27 1998 --Moffitt PN1995.7.S27 1998 Spaich, Herbert Ernst Lubitsch und seine Filme Munchen : W. Heyne, c1992. --MAIN: PN1998.3.L83 S63 1992 Thiery, Natacha. Lubitsch, les voix du desir : les comedies americaines, 1932-1946 Liege : Cefal, c2000. --MAIN: PN1998.3.L83 T45 2000 Thompson, Kristin Herr Lubitsch goes to Hollywood : German and American film after World War I Amsterdam : Amsterdam University Press, c2005. --MAIN: PN1998.3.L83 T46 2005 --PFA : PN1998.3.L83 T46 Verdone, Mario. Ernst Lubitsch. Lyon, SERDOC [1964] --MAIN: PN1993 .P7 no.32; Weinberg, Herman G. The Lubitsch touch : a critical study New York : Dover Publications, 1977. --MAIN: PN1998.A3 L84 1977 --UNDE: PN1998.A3 L84 1977 Weinberg, Herman G. The Lubitsch touch; a critical study New York, Dutton, 1968 --Moffitt: PN1998.A3 .L84 1968Journal ArticlesBond, K. "Ernst Lubitsch." Film Culture nr 63-64 (1977); p 139-53 Descriptions of Lubitsch's silent films Braudy, Leo "The Double Detachment of Ernst Lubitsch." MLN > Vol. 98, No. 5, Comparative Literature (Dec., 1983), pp. 1071-1084 UC users only
Brewster, Ben
The circle: Lubitsch and the theatrical farce tradition." Film History Vol XIII nr 4 (2001); p 372-389
"The 1877 production of James Albery's "The Pink Dominos" began a quarter-century vogue for full-length farce on the London stage. By the 1880s, British playwrights had invented native versions of the farce, but their stereotyped plots indicate that they closely resemble their French predecessors. Both British and American adapters kept quite close to the original French farces, while making them more morally accountable. Brewster examines adaptations of farce across various national borders and demonstrates that even small alterations to what is essentially the same story can have major effects on the tone and acceptability to different audiences. He pays particular attention to Ernst Lubitsch's "The Marriage Circle" and how it relates to the theatrical version of "Le Réveillon," directed by Henry Meilhac and Ludovic Halévy, and other similar productions." [International Index to the Performing Arts]
Brion, Patrick
"Filmographie de Lubitsch (commentée par lui-même." Cahiers du cinéma 198 (1968:févr.) 26
"Commentaires sur les films de E. Lubitsch." [various authors]
Cahiers du cinéma 198 (1968:févr.) 30
Crowe, Cameron
"Leave 'em Laughing." (comedy film director Ernst Lubitsch)Newsweek Summer 1998 v131 n25A p23(1)
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A writer-director of comedy films analyzes how the best comedy comes from repetition of small occurrences, and from unexpected moments. Ernst Lubitsch's work in 'Ninotchka' and other films are compared.
"Ernst Lubitsch."
Positif nr 305-306 (July-Aug 1986); p 2-16 Language: French
Article appraising the films of E.L. followed by reviews of four of his most important films. Article Type: Dossier; Illustrations; Credits; BibliographyErnst Lubitsch. Abstract: Article appraising the films of E.L. followed by reviews of four of his most important films.
Hall, Kenneth E. .
"Von Sternberg, Lubitsch, and Lang in the work of Manuel Puig." Literature-Film Quarterly, July 1994 v22 n3 p181(6)
"The writing of Manuel Puig was influenced by the film directions of Josef Von Sternberg, Ernst Lubitsch, and Fritz Lang. Von Sternberg provides atmosphere and star treatment of women. Lubitsch provides a light comedic touch and crystallization of situations. Lang provides serious looks at troubled characters and also a focus on objects. While Puig has mentioned the three directors, scholars have missed the influences." [Expanded Academic Index]
Hoberman, J.
"Film: Urbane Legends: The Importance of Being Ernst." The Village Voice 48:24 [11 June 2003-17 June 2003] p.108
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Huff, Theodore
"An Index to the Films of Ernst Lubitsch." Sight and Sound, Special Supplement: Index Series 9 (1947:Jan.)
Isaacs, Neil D.
"Lubitsch and the filmed-play syndrome." Literature/Film Quarterly Vol III nr 4 (Autumn 1975); p 299-308
Analyses E.L.'s theatrical orientation and describes his cinematic devices as expansions of theatrical technique, with special reference to 'Trouble in paradise', 'Design for living' and 'To be or not to be'.
Lubitsch, Ernst
"Concerning cinematography." American Cinematographer v. 80 no. 3 (March 1999) p. 120-2
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In a reprint of an article that appeared in the November 1929 issue of American Cinematographer, film director Ernst Lubitsch discusses working conditions for cinematographers in Europe and America.
Macksey, Richard.
"Four Emigre Directors: Shadows of Careers." MLN. 98(5):1187-1196. 1983 Dec.
Nochimson, Martha P.
"Betty Grable Finally Dances with Baron Leopold von Sacher-Masoch." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 5:(no pagination). 2000 Apr
Petrie, Graham
"Theater film life." Film Comment Vol X nr 3 (May-June 1974); p 38-43
Discussion of three films which present 'the shifting relationships between life and theater, theater and film, and film and life'.
Pratt, David B.
"'O Lubitsch, Where Wert Thou?' Passion, the German Invasion & the Emergence of the Name 'Lubitsch'." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 13(1):34-70. 1991 Jan
Notes US resistance to German culture following World War I, and how the films of Lubitsch, such as "Madame Dubarry", were successful due to their opposition to viewers' expectation of 'Teutonic' works of art.
Ranciere, J.
"La porte du paradis." (Marx, Lubitsch et le cinema d'aujourd'hui). Cahiers du Cinema no. 554 (February 2001) p. 52-3
"The writer discusses the theme of social class in film. He refers to the work of Lubitsch, who stood up as a champion in the struggle between the classes, that is, he spoke the truth about social appearances. He maintains that the problem with contemporary cinema is that when the inter-class struggle emerges into the open, a wide range of pretenders take its place, such as social comedy and family-related stories." [Art Index]
Saada, Nicolas
"Lubitsch muet: le poids de la grace." Cahiers du cinéma 494 (1995:sept.) 42
"The films of Ernst Lubitsch are discussed on the occasion of a major retrospective of his silent films at the Max Linder cinema in Paris from August 16, 1995, to September 19, 1995. Dating from around 1916 to 1927, these films are often masterpieces and cover a variety of genres, including satire and costume drama. Lubitsch was an iconoclast and, at the same time, a portrayer of human nature. His work is characterized by exhilarating energy, even when dealing with themes such as death and sorrow." [Art Index]
Sarris, Andrew
"Lubitsch in the thirties: part one." Film Comment Vol VII nr 4 (Winter 1971-72); p 53-57
Discusses the films of E.L. in the thirties and seeks to refute traditional critical views of them.
Sarris, Andrew
"Lubitsch in the thirties: part two." Film Comment Vol VIII nr 2 (Summer 1972); p 20-21
Second of two parts discussing the films of E.L. in the thirties with particular attention to the musicals
Thompson, Kristin
"Lubitsch, acting and the silent romantic comedy."Film History Vol XIII nr 4 (2001); p 390-408
"Ernst Lubitsch's transition from the German film industry to Hollywood in late 1922 accelerated his work with romantic comedy. Beginning with "The Marriage Circle," he emphasized quality acting and influenced the creation of the American romantic comedy in the 1920s. Lubitsch worked with many talanted actors but, nonetheless, centered his works around their lead actresses. Whether relying on a broad, pantomimic style of acting or a more restrained, facially-oriented style, Lubitsch strove to tell his stories through visual means and in the process developed a style that utilized the norms of classical filmmaking but remained distinctively original." [International Index to the Performing Arts]
Truffaut, François
"Lubitsch was a prince." American Film Vol III nr 7 (May 1978); p 55-57
F.T. looks at director E.L., his films and his style.
Weinberg, Herman G.
"Ernst Lubitsch, A Parallel to George Feydeau."Film Comment 6:1 (1970:Spring) 62
Weinstein, Valerie
"Anti-Semitism or Jewish 'Camp'? Ernst Lubitsch's Schuhpalast Pinkus (1916) and Meyer Aus Berlin (1918)." German Life and Letters 59 (1), 101–121.
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"This article examines two of Ernst Lubitsch's 'milieu comedies', 'Jewish' comedies set in the 'milieu' of the Berlin garment industry. These comedies have been accused previously of 'anti-Semitism' or 'self hatred' because of their heavy-handed use of stereotype. The following article contends that different audiences may have received these films in different ways, and that the milieu films do not only reflect anti-Semitism and self-hatred. A close reading of Lubitsch's Schuhpalast Pinkus and Meyer aus Berlin, informed by the films' historical context, promotion, and reception and theories of Jewish assimilation, stereotype, and 'camp', reveals a critical potential in the milieu films. The ways in which the milieu films deploy stereotype and humour not only mimic negative stereotypes about Jews in WWI Germany but also criticise those same stereotypes. Moreover, the deployment of stereotype and humour in the milieu films also underscores the failure of German Jews to assimilate fully. Both the style and content of Schuhpalast Pinkus and Meyer aus Berlin expose an incongruity between early twentieth-century perceptions of German Jews being successfully assimilated and the reality that they were treated as essentially different."
Articles and Books on Individual FilmsI Don't Want to Be a Man!Koller, Michael. "I Don't Want to Be a Man!" Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 22:(no pagination). 2002 Sept-Oct
Lady Windermere's FanCahir, Linda Constanzo . "A shared impulse: the significance of language in Oscar Wilde's and Ernst Lubitsch's 'Lady Windermere's Fan.'" Literature-Film Quarterly Jan 1991 v19 n1 p7(5) In his silent version of 'Lady Windermere's fan', Ernst Lubitsch substitutes visual humour for the epigrams of Wilde's play, faltering only from a lack of understanding of the final scene. Davidson, David. "The Importance of Being Ernst: Lubitsch and Lady Windermere's Fan." Literature-Film Quarterly. 11(2):120-131. 1983 Musser, Charles "The Hidden and the Unspeakable: On Theatrical Culture, Oscar Wilde and Ernst Lubitsch's Lady Windermere's Fan." Film Studies: An International Review, vol. 4, pp. 12-47, Summer 2004. UC users only
Merry WidowSchwartz, N. "Lubitsch's Widow: the meaning of a waltz." Film Comment Vol XI nr 2 (Mar-Apr 1975); p 13-17 Analysis of the use of music as a sexual metaphor and other examples of the 'Lubitsch touch' in 'The merry widow'. NinotchkaHelker, Renata "Einige Notizen. Zur Ausdruckstechnik des Lachens und zur Darstellungsform des Komischen bei den Schauspielerinnen Marlene Dietrich und Greta Garbo." Frauen und Film nr 53 (Dec 1992); p 94-101 On the humour in the roles played by Marlene Dietrich and Greta Garbo in "Der blaue Engel" and "Ninotchka" respectively, and the importance of their physical appearance and artificiality/naturalness with regard to their comic effect. [FIAF] The Oyster PrincessHake, Sabine. "The Oyster Princess and The Doll: Wayward Women of the Early Silent Cinema." In: Gender and German cinema : feminist interventions / edited by Sandra Frieden ... [et al.]. pp: 13-32. Providence : Berg, 1993. --Main Stack PN1993.5.G3.G357 1993 So This Is ParisHake, Sabine "So this is Paris: a comedy of misreading." Journal of Film and Video Vol XL nr 3 (Summer 1988); p 3-17 The theories of Wolfgang Iser (literature) and Ejzenshtejn (film montage) are introduced as a means of showing how a reader/viewer actualizes the text rather than being a passive recipient; focuses on the sophisticated comedy to demonstrate this, notably Lubitsch's "So this is Paris". [FIAF] Koller, Michael. "So This Is Paris." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 25:(no pagination). 2003 Mar-Apr UC users only
To Be or Not To BeBarnes, Peter To be or not to be London : British Film Institute, 2002. --MAIN: PN1997.T582 B37 2002 --PFA : PN1997.T582 B37 2002; Comolli, Jean-Louis; Géré, François "Deux fictions de la haine (2)." Cahiers du Cinéma nr 288 (May 1978); p 5-15 Language: French An analysis of 'To be or not to be'. Comolli, Jean-Louis; Géré, François "Deux fictions de la haine (3)." Cahiers du Cinéma nr 290-291 (July-Aug 1978); p 90-98 Language: French An analysis of 'To be or not to be'. Gemünden, Gerd "Space out of joint; Ernst Lubitsch's "To Be or Not to Be"." New German Critique 89 (2003) 59-80 Insdorf, Annette "To be or not to be." American Film Vol V nr 2 (Nov 1979); p 80-81, 85 Recounting of the damning reception when the film opened in 1942 and reconsideration of the film today in the light of changed social conscience. Jones, Nicholas. "Hamlet in Warsaw: The Antic Disposition of Ernst Lubitsch." Entertext: an Interactive Interdisciplinary E-Journal for Cultural & Historical Studies & Creative Work. 1(2):264-88. 2001 Spring
Melehy, Hassan
"Lubitsch's To Be or Not to Be: the question of simulation in cinema." (Ernst Lubitsch) Film Criticism Winter 2001 v26 i2 p19(23)
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"The writer addresses two important aspects of Ernst Lubitsch's film To Be or Not to Be (1942): the film's incorporation of theater, and its examination of propaganda. The film's incorporation of theater--the protagonists belong to a troupe of actors in Warsaw, Poland, during the German occupation--serves as a means for exploring cinema's capacity to create images and its relation to the situations and objects represented by these images. At issue in this study is whether cinematic representation involves mimesis, namely, the process of recording which would respect the integrity of an original, or by simulation, in which the original is of little or no importance. Lubitsch also examines the propaganda and propagation of Nazism as functions of image-production. By bringing the propagandistic aspects of his own films into close proximity with those of National Socialism, Lubitsch shows an awareness that Hollywood is at once a refuge from and a parallel to the cinematic section of the Nazi state apparatus." [Art History]
Protopopoff, D.; Serceau, Michel
"Hollywood à la recherche de son ombre." CinémAction nr 53 (Oct 1989); p 94-97Language: French
Notes the USA's tendency to remake past successes and how these are invariably inferior to the original; compares the two versions of "To be or not to be".
Rosenberg, Joel.
"Shylock's Revenge: The Doubly Vanished Jew in Ernst Lubitsch's To Be or Not to Be." Prooftexts-A Journal of Jewish Literary History. 16(3):209-44. 1996 Sept
Tifft, Stephen
"Miming the Fuhrer: 'To Be or Not to Be' and the mechanisms of outrage." (Adolf Hitler) The Yale Journal of Criticism Fall 1991 v5 n1 p1(40)
Willson, Robert Frank
"Selected offshoots: Shakespeare at war, on Broadway, in the mob, in space, and on the range." In: Shakespeare in Hollywood, 1929-1956. Shakespeare in Hollywood, 1929-1956 / Robert F. Willson, Jr. p. 74-129 Madison [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, c2000.
--Main Stack PR3093.W57 2000
Trouble in ParadiseHuie, W.O., Jr. "Style and technology in Trouble in paradise: evidence of a technician's lobby?" Journal of Film and Video Vol XXXIX nr 2 (Spring 1987); p 37-51 The fact that there is so little camera movement in Lubitsch's "Trouble in paradise" may not be for artistic reasons, but for technical demands enforced by the unions. [FIAF] |
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