"Dietrich's Ghosts "is the first major English-language study to
look at the star system under the Third Reich. Erica Carter argues
that after the Weimar period, the German star system was
reorganized to foster an anti-modernist mode of spectatorship
geared to an appreciation of the beautiful and the sublime.
Carter discusses the reconfiguring of film production and
exhibition around idealist aesthetic principles and offers case
studies of three stars. Emil Jannings figures as an exemplar of
what Carter terms the "volkisch "sublime, while Marlene Dietrich
emerges as a figure at the crossroads of modernist and idealist
conceptions of beauty. A provocative chapter on Zarah Leander in
the feature films of the early war years portrays this star as a
post-Dietrich emblem of the supposed sublimity of a fascist war.
This unprecedented new study reassesses existing paradigms in
German film history debates and throws suggestive new light on the
icons and popular culture of the Third Reich.
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