Ernst Lubitsch:
A Bibliography of Materials in the UC Berkeley Library

This is a static page that is no longer maintained

Journal Articles
Articles and Books on Individual films

Movies by Director videography for works of Lubitch in MRC


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

Eisner, Lotte H.
"Lubitsch and the Costume Film." In: The haunted screen : expressionism in the German cinema and the influence of Max Reinhardt Berkeley : University of California Press, 1973, c1969.
MAIN: PN1993.5.G3 E512 1973
AVMC: PN1993.5.G3 E513 1969; GRDS: PN1993.5.G3 E513 1969
MOFF: PN1993.5.G3 E513 1969
PFA : PN1993.5.G3 E513

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
Contents via Google books

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
Pacific Film Archive 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]

Horowitz, Joseph
Artists in exile : how refugees from twentieth-century war and revolution transformed the American performing arts / Joseph Horowitz. New York : Harper, c2008.
Main (Gardner) Stacks PN2266.3 .H67 2008
George Balanchine, in collaboration with Stravinsky, famously created an Americanized version of Russian classical ballet. Kurt Weill, schooled in Berlin jazz, composed a Broadway opera. Rouben Mamoulian's revolutionary Broadway productions of Porgy and Bess and Oklahoma! drew upon Russian "total theater." An army of German filmmakers--among them F. W. Murnau, Fritz Lang, Ernst Lubitsch, and Billy Wilder--made Hollywood more edgy and cosmopolitan. Greta Garbo and Marlene Dietrich redefined film sexuality. Erich Korngold upholstered the sound of the movies. Rudolf Serkin inspirationally inculcated dour Germanic canons of musical interpretation. An obscure British organist reinvented himself as "Leopold Stokowski." However, most of these gifted émigrés to the New World found that the freedoms they enjoyed in America diluted rather than amplified their high creative ambitions. Russians uprooted from St. Petersburg became "Americans"--they adapted. Representatives of Germanic culture, by comparison, preached a German cultural bible--they colonized.--From publisher description.

Malkin, Jeanette
"The cinematic shoe : Ernst Lubitsch's East European "touch" in Pinkus's Shoe Palace." In: Jews and shoes / [edited by] Edna Nahshon. Oxford ; New York : Berg, 2008.
Main (Gardner) Stacks GT2130 .J49 2008

Nacache, Jacqueline
Lubitsch Paris : Edilig, 1987.
MAIN: PN1998.A3 L8351 1987

Naumann, Michaela
Ernst Lubitsch : Aspekte des Begehrens / Michaela Naumann. Marburg : Tectum-Verl. c2008.
Main (Gardner) Stacks PN1998.3.L83 N38 2008

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.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1998.3.L83 T46 2005
PFA : PN1998.3.L83 T46

Thiéry, Natacha.
Lubitsch, les voix du désir : les comédies américaines, 1932-1946 / Natacha Thiéry. Liège : Céfal, c2000.
Main (Gardner) Stacks PN1998.3.L83 T45 2000

Verdone, Mario.
Ernst Lubitsch. Lyon, SERDOC [1964]
MAIN: PN1993 .P7 no.32;

Weinberg, Herman G.
Ernst Lubitsch / Herman G. Weinberg ; édition établie sous la direction de Pierre Lherminier ; avec la collaboration de Jean-Antonin Billard et Marie-Luce Nemo pour la version française. Paris : Editions Ramsay, c1997.
Main (Gardner) Stacks PN1998.A3 L8414 1997

Weinberg, Herman G.
The Lubitsch touch : a critical study New York : Dover Publications, 1977.
MAIN: PN1998.A3 L84 1977
UNDE: PN1998.A3 L84 1977
Moffitt: PN1998.A3 .L84 1968 [an earlier edition]

Weinstein, Valerie
"(Un)fashioning identities: Ernst Lubitsch's early comedies of mistaken identity." In: Visual culture in twentieth-century Germany : text as spectacle / edited by Gail Finney. Bloomington, IN : Indiana University Press, c2006.
Main (Gardner) Stacks NX550.A1 V57 2006

Journal Articles

Bond, 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
UC users only
"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)
UC users only
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.

Drössler, Stefan
"Ernst Lubitsch and EFA." Film History: An International Journal, vol. 21, no. 3, pp. 208-228, 2009
UC users only
" In 1920 and 1921 Paramount began its attempt to conquer the German market by founding a company in Germany parallel to UFA, called EFA. It was a crucial moment in German film history, ending in the departure of Pola Negri and Ernst Lubitsch for Hollywood. This article reconstructs the complex developments surrounding EFA in the U.S. and in Germany. It portrays an ambitious Lubitsch, advancing his career at the expense of his mentor Paul Davidson, who was left behind as 'collateral damage'."

"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.

Furniss, Maureen.
"Handslapping In Hollywood: The Production Code's Influence on the "Lubitsch Touch." Spectator: The University of Southern California Journal of Film & Television, Fall1990, Vol. 11 Issue 1, p52-61, 10p,

Hall, Kenneth E. .
"Von Sternberg, Lubitsch, and Lang in the work of Manuel Puig." Literature-Film Quarterly, July 1994 v22 n3 p181(6)
UC users only
"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
UC users only

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
UC users only
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
UC users only
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 UC users only
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
UC users only
"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.
UC users only
"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 Films

Madame DuBarry (aka Passion)

Marc Silberman.
"Revolution, power, and desire in Ernst Lubitsch's Madame Dubarry." In: Expressionist film--new perspectives Edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

McCormick, Richard W.
"Sex, History, and Upward Mobility: Ernst Lubitsch's Madame Dubarry/Passion, 1919." German Studies Review, Oct2010, Vol. 33 Issue 3, p603-618, 16p

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

I 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 Fan

Cahir, 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) UC users only
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 UC users only

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

Madame Dubarry

Silberman, Marc
"Revolution, power, and desire in Ernst Lubitsch's Madame Dubarry." In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. Rochester, NY : Camden House, 2003.
Main (Gardner) Stacks PN1993.5.G3 E94 2003

Merry Widow

Schwartz, 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'.


DiBattista, Maria
"Garbo's Laugh." In: Fast-talking dames / Maria DiBattista. New Haven : Yale University Press, c2001.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.W6 D53 2001

Ernst Lubitsch's Ninotchka, starring Greta Garbo, Melvyn Douglas
Edited by Richard J. Anobile. New York : Universe Books, 1975.
Main (Gardner) Stacks PN1997 .N523 1975b
Pacific Film Archive PN1997.N56 E76 1975 os

Fay, Jennifer
"Becoming democratic: Satire, satiety, and the founding of West Germany." Film History; 2006, Vol. 18 Issue 1, p6-20, 15p
UC users only

Helker, 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]

Heller, Dana
"A passion for extremes." Comparative American Studies; Mar2005, Vol. 3 Issue 1, p89-110, 22p
UC users only
Examines images of Russians in Hollywood film from 1939 to 1990, with a focus on romantic narratives depicting Russians and Americans in love. Traces a pattern of attachment to Russia as a trope that helps reveal the changing and contradictory contours of American myths of nationhood. Such films as 'Ninotchka' (1939), 'Moscow on the Hudson' (1984), and 'The Russia House' (1990) refashion such myths by rhetorically orchestrating structures of society and history, gender and sexuality, and desire and consumption toward the manufacture of a democratic consensus that links the private body to the national body, or the fulfillment of private individuals to the fulfillment of the national ideal. [ABSTRACT FROM AUTHOR]

Laville, Helen.
"'Our Country Endangered by Underwear': Fashion, Femininity, and the Seduction Narrative in Ninotchka and Silk Stockings." Diplomatic History, Volume 30, Issue 4, pages 623-644, September 2006
UC users only

Mindich, Jeremy.
"Re-reading Ninotchka: A Misread Commentary on Social and Economic Systems." Film & History, Feb1990, Vol. 20 Issue 1, p16-24, 9p
UC users only

Morrison, Paul
"Garbo Laughs!" Modernist Cultures, vol. 2, no. 2, pp. 153-169, 2006 Winter

Rédei, Anna Cabak
"Rhetoric in film: a cultural semiotical study of Greta Garbo in Ninotchka." Film International Volume: 4 | Issue: 5 October 2006, Page(s): 52-61
UC users only

Small, Melvin
"Buffoons and Brave Hearts: Hollywood Portrays the Russians, 1939-1944." California Historical Quarterly, Vol. 52, No. 4 (Winter, 1973), pp. 326-337
UC users only

Small, Melvin
"Hollywood and teaching about Russian American Relations." Film & History , Feb1980, Vol. 10 Issue 1, p1-8, 8p
UC users only

Zinman, David (David H.)
"Ninotchka." In: 50 classic motion pictures; the stuff that dreams are made of, by David Zinman. New York, Crown Publishers [1970]
Pacific Film Archive PN1993.5.U6 Z46 1970

The Oyster Princess

Hake, 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

The Smiling Lieutenant

Greene, Jane M.
"Hollywood's Production Code and Thirties Romantic Comedy." Historical Journal of Film, Radio & Television, Mar2010, Vol. 30 Issue 1, p55-73, 19p
UC users only

So This Is Paris

Hake, Sabine
"So this is Paris: a comedy of misreading." Journal of Film and Video Vol XL nr 3 (Summer 1988); p 3-17
UC users only
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 Be

Barnes, 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
UC users only

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.

Insdorf, Annette.
"Black Humor." In: Indelible shadows : film and the Holocaust / Annette Insdorf. Cambridge : Cambridge University Press, 1989.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.H53 I57 1989
Moffitt PN1995.9.H53 I57 1989 c.11

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)
UC users only
"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
UC users only

Sammond, Nicholas; Mukerji, Chandra
"'What You Are . . .I Wouldn’t Eat': Ethnicity, Whiteness, and Performing 'the Jew' in Hollywood’s Golden Age." In: Classic Hollywood, classic whiteness / Daniel Bernardi, editor. Minneapolis : University of Minnesota Press, c2001.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1995.9.M56 C59 2001

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)
UC users only

Whitaker, Sheila.
"To Be Or Not To Be." Framework: The Journal of Cinema & Media, Winter76/77 Issue 5, p12-15, 4p

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 Paradise

Ebert, R.
"Trouble in paradise." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.
Main (Gardner) Stacks PN1995 .A448 2006
Moffitt PN1995 .A448 2006
Pacific Film Archive PN1995 .A72 2006

Huie, 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]

Copyright (C) 1996 by the Library, University of California, Berkeley. All rights reserved.
Document maintained on server: by
Gary Handman, Head, Media Resources Center.
Last update 07/27/11 [gh]

MRC web graphics by Mary Scott, Graphics Office, The Teaching Library