Douglas Sirk:
A Bibliography of Materials in the UC Berkeley Library












Overviews and general books and articles
Articles and Books on Individual films

Sirk (Sierck) in German

Hollywood melodrama bibliography

Overviews and General Books and Articles

Bourget, Jean Loup.
Douglas Sirk / Jean-Loup Bourget. Paris : Edilig, [1984] Cinegraphiques
Main Stack PN1998.A3.S545331 1984

Bourget, Jean Loup.
"Sirk and the Critics." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Byars, Jackie.
All That Hollywood Allows: Re-reading Gender in 1950s Melodrama / Jackie Byars. Chapel Hill: University of North Carolina Press, c1991.Series title: Gender & American culture.
UCB Main PN1995.9.S47 B9 1991
UCB Moffitt PN1995.9.S47 B9 1991
Contents via Google books

Camper, Fred.
"The Films of Douglas Sirk." Screen, Summer71, Vol. 12 Issue 2, p44-62, 19p;
UC users only

Camper, Fred.
"The Tarnished Angels." Screen, Summer71, Vol. 12 Issue 2, p44-62, 19p;
UC users only

Chung, Hye Seung
"Hollywood Goes to Korea: Biopic Politics and Douglas Sirk's "Battle Hymn" (1957) Historical Journal of Film, Radio and Television 25:1 [March 2005] p. 51-80
UC users only

de Allencar Lyon, Andre
"The Afterlife of Melodrama" Stanford Undergraduate Journal Spring 2004

"Documents on Sirk With a postscripts by Thomas Elsaesser." Screen, Summer71, Vol. 12 Issue 2, p15-28, 14p

Doherty, Thomas.
"Douglas Sirk: Magnificent Obsession." Chronicle of Higher Education, 11/15/2002, Vol. 49 Issue 12, pB16, 3p,
UC users only

Douglas Sirk.
[Lisbon, Portugal] Cinemateca Portuguesa/Museu do Cinema, 2002.
PFA PN1998.3.S57.D68 2002
Published in conjunction with a film retrospective held at the Cinemateca Portuguesa, Apr.-June 2002. Includes filmography (p.147-153) and bibliographical references (p.153).

Elsaesser, Thomas
"Documents on Sirk." Screen 1971 12: 8-14;
UC users only

Fassbinder, Rainer Werner
"Six Films by Douglas Sirk." New Left Review, I/91, May-June 1975

Fear, Dave.
"Magnificent Obsessions; The Return of the 1950's Melodrama." Kitchen Sink. Jan 31, 2003. Vol. 1, Iss. 2; p. 36
UC users only

Feil, Ken.
"Ambiguous Sirk-Camp-Stance: Gay Camp and the 1950s Melodramas of Douglas Sirk." Spectator 15.1 (1994): 31-49.

Fischer, Lucy
"Sirk and the Figure of the Actress: All I Desire." Film Criticism Wntr-Spring 1999 p136 (5286 words)
UC users only
"Douglas Sirk's film "All I Desire" portrays the duality of the female character. Situated at the turn of the century, the film follows a woman's desire to become an actress at the price of abandoning her husband and children. Although she is reunited with her family in the end, her absence has created intensified love or hatred in her children and meekness in her husband." [Expanded Academic Index]

Gallagher, Tag
"White Melodrama: Douglas Sirk." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 36, pp. (no pagination), Summer 2005.

Gallagher, Tag
"White Melodrama: Douglas Sirk." Film Comment, Nov/Dec98, Vol. 34 Issue 6, p16, 9p
UC users only

Gemunden, Gerd (compiler).
"Douglas Sirk: Selected Bibliography." Film Criticism. 23(2-3):167-74. 1999 Winter-Spring
UC users only

Gemunden, Gerd
"Introduction." (screenwriter Douglas Sirk) Film Criticism Wntr-Spring 1999 p1 (4695 words)
UC users only
"German-born filmmaker Douglas Sirk made significant contributions to cinematic portrayal of industrialized culture. Sirk changed his name and place of birth on emigrating from Germany to avoid anti-Nazi sentiment. This duality is revealed in many of his films, in which characters struggle to create their identities or come to terms with them." [Expanded Academic Index

Hake, Sabine.
"The Melodramatic Imagination of Detlef Sierck: Final Chord and Its Resonances." Screen. 38 (2): 129-48. 1997 Summer.

Halliday, Jon
"Notes on Sirk's German Films." Screen 1971 12: 8-14;
UC users only

Harvey, James.
"Sirkumstantial Evidenee." Film Comment 14.4 (1978): 52-59.

Harvey, James
"Douglas Sirk." In: Movie love in the fifties / James Harvey. 1st ed. New York: Alfred A. Knopf: Distributed by Random House, 2001.
Main Stack PN1995.9.L6.H37 2001
PFA PN1995.9.L6.H37 2001 Pacific Film Archive collection
Contents via Google books

Horak, Jan-Christopher.
"Sirk's Early Exile Films: Boefje and Hitler's Madman." (Douglas Sirk, Adolf Hitler) Film Criticism Wntr-Spring 1999 p122 (5195 words)
UC users only
"Filmmaker Douglas Sirk examined the destruction of the German social order in his works. Sirk disassociated himself from Nazism through emigration, and targeted fascism as the primary cause of cultural dissolution through its dismantling of religion and human values. This social decay is represented in both "Boefje" and "Hitler's Madman"." [Expanded Academic Index]

Joyrich, Lynne
"All that television allows: TV melodrama, postmodernism and consumer culture." Camera Obscura nr 16 (Jan 1988); p 128-153.
A postmodernist reading of US melodrama, tracing its shift from cinema, in the films of Douglas Sirk, to its current home, the tv soap opera.

Kauffmann, Stanley
"Douglas Sirk." [obituary] The New Republic Feb 16, 1987 v196 p25(1) (395 words)

Kennedy, Harlan
"The melodramatists." (film makers Douglas Sirk and Nicholas Ray) American Film Jan-Feb 1992 v17 n1 p54(3)

King, Noel.
"Criticks: Sirk-ling film studies." Metro n115 (1998): 27-34.

Klinger, Barbara
Melodrama and meaning: history, culture, and the films of Douglas Sirk / Barbara Klinger. Bloomington: Indiana University Press, c1994.
UCB Main PN1998.3.S57 K55 1994

Koch, Gertrud
"From Detlef Sierck to Douglas Sirk." Film Criticism Wntr-Spring 1999 p14 (7224 words)
UC users only
" Filmmaker Douglas Sirk examines the origins of social conflicts within his works. Many of Sirk's plots are based on confrontations between societies based on values and those based on abstract rules. Other themes he explores include sexual repression and homosexuality, ethnic identity, gender performance and the bonds between family members." [Expanded Academic Index]

Koepnick, Lutz.
"Pianos, Priests, and Popular Culture: Sirk, Lang, and the Legacy of American Populism." In: The dark mirror: German cinema between Hitler and Hollywood / Berkeley: University of California Press, c2002.
Full-text available online [UC Berkeley users only]
MAIN: PN1993.5.G3 K645 2002
Moffitt PN1993.5.G3 K645 2002

Koepnick, Lutz
"Sirk and the Culture Industry: Zu neuen Ufern and The First Legion." Film Criticism, vol. 23, no. 2-3, pp. 94-121, Winter 1999.
UC users only

Laufer, Elisabeth.
Skeptiker des Lichts : Douglas Sirk und seine Filme / Elisabeth Laufer. Originalausg. Frankfurt am Main : Fischer Taschenbuch, 1987. Fischer Cinema ; 4468
Main Stack PN1998.3.S57.L38 1987

Lawrence, Amy.
"Trapped in a Tomb of Their Own Making: Max Ophuls's The Reckless Moment and Douglas Sirk's There's Always Tomorrow." Film Criticism Wntr-Spring 1999 p150 (6057 words)
UC users only
"Filmmakers Max Ophuls and Douglas Sirk depict the gradual decay of the family unit in their films. Both focus on the rise of youth culture during the 1950s, coupled with the open floor plans of that era. Boundaries are therefore transgressed physically, mentally and emotionally, leading family members to seek means of escape and make irrational decisions." [Expanded Academic Index]

Morey, A.
"A star has died: affect and stardom in a domestic melodrama." Quarterly Review of Film and Video, vol. 21, no. 2, pp. 89-105, April-June 2004
UC users only
"Until relatively recently, it has been fashionable to read Douglas Sirk as ridiculing popular culture though his manipulation of it. In other words, critics claim, to be moved by a Sirk film is to have missed the critical boat. In this essay, the author seeks to demonstrate that Sirk is more a parodist. This article compares Sirk's Imitation of Life (1959) to Aavid O. Selznick and William Wellman's A Star is Born (1937) to explore a characteristically Sirkian narrative strategy-the latter film does not amuse itself at its predecessor's expense so much as it inverts the message. A Star is Born conveys to its audience the idea that envying the glamorous life of the Hollywood star is inappropriate, inasmuch as the glamour has been fully paid for in suffering; arguably, what is lost is more valuable than the beauty, wealthy, fame, and indeed audience envy that is won. Imitation of Life, in contrast, suggests that envying the glamorous life of the Broadway star is inappropriate because as Gertrude Stein once quipped of Oakland, "there's no there there" (Stein, 289). Sirk's protagonist cannot trade suffering for glamour because she is not sufficiently real to suffer; literally, then, there is nothing to envy. Like other domestic melodramas of the day, Imitation of Life explores the possibilities of female rebellion and escape, variously offering its audience validation, socialization, and emotional release through tears-but it accomplishes this task in a way that criticizes female aspirations and audience gullibility considerably less that it criticizes theatricality in general." [Communication Abstracts]

Mulvey, Laura
"Fassbinder and Sirk." In: Visual and other pleasures / by Laura Mulvey. p. 45-48. Bloomington: Indiana University Press, 1989.
Main Stack PN1995.9.W6.M84 1989
Moffitt PN1995.9.W6.M84 1989

Mulvey, Laura.
"Notes on Sirk and melodrama." In: Visual and other pleasures Bloomington: Indiana University Press, 1989.
Grad Svcs PN1995.9.W6.M84 1989
Main Stack PN1995.9.W6.M84 1989
Moffitt PN1995.9.W6.M84 1989

Mulvey, Laura
"Repetition and Return: Textual Analysis and Douglas Sirk in the Twenty-first Century." In: Style and meaning : studies in the detailed analysis of film / edited by John Gibbs and Douglas Pye. Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2005.
Main Stack PN1995.S778 2005

Neale, Steve.
"Douglas Sirk." Framework, 5 (1976/1977:Winter) p.16
UC users only

Petley, Julian
"Sirk in Germany." (film director Douglas Sirk). Sight and Sound Winter 1987 v57 n1 p58(4)

Rentschler, Eric.
"Douglas Sirk Revisited: The Limits and Possibilities of Artistic Agency." New German Critique, Spring/Summer2005 Issue 95, p149-161, 13p
UC users only
"The article analyzes the work of film director Douglas Sirk as a case study of a central deliberation in David Bathrick's work, "the limits and possibilies of artistic agency." Sirk has exerted strong influence on discussions about authorship and authorial resistance to the ideolological determinations of Hollywood and the studio system. He also contributed to the international discovery and subsequent valorization of the New German cinema." [Ebsco

Rushton, Richard
"Douglas Sirk's Theatres of Imitation." Screening the Past, Issue 21 Uploaded Friday, 20 July 2007

Sarris, Andrew
"Sarris on Sirk." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Schulte-Sasse, Linda.
"Douglas Sirk's Schlubakkord and the question of aesthetic resistance." The Germanic Review, Wntr 1998 v73 n1 p2(30)
UC users only
"It is difficult to prove that Douglas Sirk's films offer resistance to National Socialism. If they do at all, they do it by reflecting on desire for the impossible. While Nazism pathologically reflects on the desire for harmony, purity and wholeness, Sirk's German films express desire and its contradictory dependency on harmony and exclusion." [Expanded Academic Index]

Sheehan, Henry
"Douglas Sirk." [web article]

Sirk, Douglas
Sirk on Sirk; interviews with Jon Halliday. New York, Viking Press [1972] Cinema one, 18
Main Stack PN1993.C45 v.18

Smith, Robert E.
"Love Affairs That Always Fade." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Stern, Jane
"Two Weeks in Another Town: Interview with Douglas Sirk." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Stern, Michael
Douglas Sirk / Michael Stern Boston : Twayne Publishers, 1979 (Series: Twayne's theatrical arts series)
Main Stack PN1998.A3.S54536
Moffitt PN1998.A3.S54536

Stern, Michael
"Patterns of Power and Potency, Repression and Violence: An Introduction to the Study of Douglas Sirk's Films of the 1950s." Velvet Light Trap 16 (1976): 15-21.

Stern, Michael
"Sirk Speaks." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Willemen, Paul
"Distanciation and Douglas Sirk." Screen, Summer71, Vol. 12 Issue 2, p44-62, 19p;
UC users only

Willemen, Paul
"Towards an analysis of the Sirkian system." Screen Vol XIII nr 4 (Winter 1972-73); p 128-134
UC users only
Assesses Sirk's value as an artist who dramatized and presented the contradictions within US society of the 1950's.

Willemen, Paul
"Towards an analysis of the Sirkian system." In: Auteurs and authorship : a film reader / edited by Barry Keith Grant. Malden, MA ; Oxford : Blackwell Pub., 2008.
Main (Gardner) Stacks PN1995.9.A837 A98 2008

Zukerman, George.
"On Sirk." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

All That Heaven Allows

Articles about Far From Heaven (Todd Haynes)

Haralovich, Mary Beth.
"All that Heaven Allows: Color, Narrative Space, and Melodrama." In Close viewings: an anthology of new film criticism / edited by Peter Lehman. pp: 57-72. Tallahassee: Florida State University Press; Gainesville, FL: Orders to University Presses of Florida, c1990.
Main Stack PN1995.C543 1990

Joyrich, Lynne
"All that television allows: TV melodrama, postmodernism and consumer culture." Camera Obscura nr 16 (Jan 1988); p 128-153.

McNiven, R.D.
"The Middle-Class American Home of the Fifties: The Use of Architecture in Nicholas Ray's "Bigger than Life" and Douglas Sirk's "All That Heaven Allows" Cinema Journal Vol XXII nr 4 (Summer 1983); p 38-57.
UC users only

Metz, Walter C.
"Pomp(ous) Sirk-umstance: intertextuality, adaptation, and all that heaven allows." Journal of Film and Video Winter 1993 v45 n4 p3(19)
UC users only
"An intertextual analysis of Douglas Sirk's 1955 film 'All That Heaven Allows,' an adaptation of Edna and Harry Lee's 'woman's novel,' helps understand the influence of auteurism on melodrama studies. Sirk's portrayal of American culture of the 1950s reflects his ability as a modernist creator of social critique. The archaeology of film studies criticism is significant to the understanding of film text interpretation." [Expanded Academic Index]

Reimer, Robert C.
"Comparison of Douglas Sirk's All That Heaven Allows and R. W. Fassbinder's Ali: Fear Eats the Soul: Or, How Hollywood's New England Dropouts Became Germany's Marginalized Other." Literature-Film Quarterly. 24(3):281-87. 1996
"Rainer Werner Fassbinder's 1973 film "Ali: Fear Eats the Soul" was influenced by Douglas Sirk's 1955 film "All That Heaven Allows" but was not a remake of the earlier film. "Ali: Fear Eats the Soul" represents Fassbinder's response to Sirk's work, paired with personal experiences that he was having around the time he made the film. "All That Heaven Allows" positioned the main characters as failing to fit into New England society. Fassbinder replaced them with economically and politically marginalized figures in Germany." [Expanded Academic Index]

Skvirsky, Salomé Aguilera.
"The Price of Heaven: Remaking Politics in All that Heaven Allows, Ali: Fear Eats the Soul, and Far from Heaven." Cinema Journal. Spring 2008. Vol. 47, Iss. 3; p. 90 (32 pages)
UC users only

All I Desire

Basinger, Jeanine
"The Lure of the Gilded Cage: All I Desire and There's Always Tomorrow." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Fischer, Lucy.
"Sirk and the Figure of the Actress: All I Desire." Film Criticism, Winter/Spring99, Vol. 23 Issue 2/3, p136-149, 14p
UC users only

Imitation of Life

Berlant, Lauren Gail
"National Brands, National Body: Imitation of Life." In: The female complaint : the unfinished business of sentimentality in American culture / Lauren Berlan Durham : Duke University Press, 2008.
Main (Gardner) Stacks BH301.E45 B47 2008

Butler, Jeremy G.
"Style and the Domestic Melodrama." Jump Cut /32, Apr 86; p.25-28.
Discusses a theory of style through a comparison of the 1934 and 1959 versions of "Imitation of Life".

Butler, Judith.
"Lana's 'Imitation': Melodramatic Repetition and the Gender Performative." Genders 9:1-18. 1990 Fall.

Byars, Jackie.
"Imitating Life." In: All That Hollywood Allows: Re-reading Gender in 1950s Melodrama / Jackie Byars. Chapel Hill: University of North Carolina Press, c1991.Series title: Gender & American culture.
UCB Main PN1995.9.S47 B9 1991
UCB Moffitt PN1995.9.S47 B9 1991
Contents via Google books

Caputi, J. and Vann, H.
"Questions of Race and Place." Cineaste XV/4, 87; p.16-21.
Discusses racism in "Imitation of Life" and "Places in the Heart".

Caughie, Pamela L.
"Let It Pass: Changing the Subject, Once Again." PMLA: Publications of the Modern Language Association of America. 112 (1): 26-39. 1997 Jan.

Conroy, Marianne.
"'No Sin in Lookin' Prosperous': Gender, Race, and the Class Formations of Middlebrow Taste in Douglas Sirk's Imitation of Life." In: The hidden foundation : cinema and the question of class / David E. James and Rick Berg, editors. pp: 114-37. Minneapolis, Minn. : University of Minnesota Press, c1996.
Full-text available online [UC Berkeley users only]
UCB Main PN1995.9.P6 H5 1996
DeRosa, Ryan.
"Viewing the civil rights South. Black passing and white pluralism : Imitation of life in the civil rights struggle." In: American cinema and the southern imaginary / edited by Deborah E. Barker and Kathryn McKee. Athens : University of Georgia Press, c2011.
Main (Gardner) Stacks New books PN1995.9.S66 A44 2011

Fischer, Lucy
"Lifestyles of the Rich and Famous: Imitation of Life." Post Script X/2, Winter 91; p.5-13..
The public image of US stars, esp. female, is contrasted with the reality of their private life; focuses on the example of Lana Turner and her role in "Imitation of life".

Fischer, Lucy
"Modernity and postmaternity: High heels and Imitation of life." In: Play it again, Sam retakes on remakes / <1998> Berkeley : University of California Press, c1998
Electronic Location(s): http://ark.cdlib.org/ark:/13030/ft1j49n6d3/ UC Berkeley users only
MAIN: PN1995.9.R45 P58 1998
MOFF: PN1995.9.R45 P58 1998

Flitterman-Lewis, Sandy.
"Imitation(s) of Life: The Black Woman's Double Determination as Troubling 'Other'." Literature & Psychology. 34(4):44-57. 1988.

Gallagher, Tag
"White Melodrama: Douglas Sirk." (director Douglas Sirk's 1959 movie "Imitation of Life" was popular melodrama) Film Comment, Nov 1998 p16(1)
"Filmmaker Douglas Sirk thought that movies should function for society, playing on the audience's emotions. Good and evil, lightness and darkness were accentuated with music. Motion and light were used to create the necessary melodramatic moments. Two major Sirk themes are characters who impose their will despite pain (white melodrama), and characters who are dominated by their will, giving in to lust (black melodrama)." [Expanded Academic Index]

Handzo, Stephen
"Intimations of Lifelessness: Sirk's Ironic Tearjerker." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Harris, Tina M., Donmoyer, Deidra.
"Is Art Imitating Life? Communicating Gender and Racial Identity in Imitation of Life." Women's Studies in Communication. 23(1):91-110. 2000 Winter

Harvey, J.
"Imitation of life." 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 Stack PN1995.A448 2006
Moffitt PN1995.A448 2006
PFA PN1995.A72 2006

Harvey, James
"Imitation of Life." In: Movie love in the fifties / James Harvey. 1st ed. New York: Alfred A. Knopf: Distributed by Random House, 2001.
Main Stack PN1995.9.L6.H37 2001
PFA PN1995.9.L6.H37 2001 Pacific Film Archive collection
Contents via Google books

Henke, R.
"Imitation World of Vaudeville." Jump Cut /39, June 94; p.31-39.
Examines the imprisonment and alienation of women in terms of race and gender in "Imitation of Life" with reference to the 'camp' sensibility evident in "Valley of the Dolls".

Heung, M.
"'What's the Matter with Sara Jane?': Daughters and Mothers in Douglas Sirk's Imitation of Life." Cinema Journal XXVI/3, Spring 87; p.21-43.
UC users only
Analyses the film in terms of the intersection of issues of race, class and gender.

Hinton, Laura.
"Excessive women's sadomasochistic sentiments: maternal-melodrama fetishism in Imitation of life and the TV talkshow Sally Jessy Raphael." In: The perverse gaze of sympathy : sadomasochistic sentiments from Clarissa to Rescue 911 / Laura Hinton. Albany : State University of New York Press, c1999.
Main Stack PR830.S45.H56 1999

Imitation of life : Douglas Sirk, director
Lucy Fischer, editor. New Brunswick : Rutgers University Press, c1991. Series title: Rutgers films in print ; v. 16.
UCB Main PN1997.I4553 I45 1991
UCB Moffitt PN1997.I4553 I45 1991

McKegney, M.
"Film Favorites."Film Comment VIII/2, Summer 72; p.71-73.
Defense of Douglas Sirk and of his last film: "Imitation of Life".

Morey, Anne.
"A star has died: Affect and stardom in a domestic melodrama." Quarterly Review of Film and Video. Apr-Jun 2004. Vol. 21, Iss. 2; pg. 95
Morey compares Douglas Sirk's "Imitation of Life" to David O. Selznick and William Wellman's "A Star is Born." While Sirk borrowed from the Selznick and Wellman film, there are still many striking differences.

Niu, Greta Ai-Yu
"Performing White Triangles: Joan Riviere's 'Womanliness as a Masquerade' and Imitation of Life (1959)." Quarterly Review of Film and Video, vol. 22, no. 2, pp. 135-44, Spring 2005.

Selig, M.E.
"Contradiction and Reading: Social Class and Sex Class in Imitation of Life." Wide Angle X/4, 88; p.13-23.
Douglas Sirk's "Imitation of life" re-defined in connection with film melodrama, via feminist and Marxist perspectives.

Selig, Michael.

Verstraeten, Peter.
"The (Dis)Illusion of White Masquerade: An Overidentification with Stock Images in Sirk's Melodrama Imitation of Life (1959)." Thamyris. 7(1-2):201-13. 2000 Summer

Magnificent Obsession (Douglas Sirk)

Bourget, Jean-Loup
"God Is Dead, or through a Glass Darkly." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005.

Carroll, Noel.
"The Moral Ecology of Melodrama: The Family Plot and Magnificent Obsession." New York Literary Forum. 7:197-206. 1980.
Also in: Imitations of life : a reader on film and television melodrama
Edited by Marcia Landy. Detroit : Wayne State University Press, c1991.
Main PN1995.9.M45 I45 1991
Moffitt PN1995.9.M45 I45 1991

Doherty, Thomas.
"Douglas Sirk: Magnificent Obsession." Chronicle of Higher Education. 49(12):B16-B18. 2002 Nov 15
This article examines the life and work of filmmaker Douglas Sirk who worked in Hollywood during the 1950s. Topics include how Sirk's films depicted passion and 1950s culture, and director Todd Haynes 2002 release of 'Far From Heaven,' which imitates the style of Sirk's classic melodramas.

Falcon, Richard
"Magnificent Obsession." Sight and Sound, vol. 13, no. 3, pp. 12-15, March 2003.

Mulvey, Laura.
"'It Will Be a Magnificent Obsession': The Melodrama's Role in the Development of Contemporary Film Theory." In: Melodrama: stage, picture, screen
Edited by Jacky Bratton, Jim Cook, Christine Gledhill. pp: 121-33. London: British Film Institute, 1994.
Main Stack PN1912.M45 1994

Selig, Michael.
"Hollywood Melodrama, Douglas Sirk, and the Repression of the Female Subject (Magnificent Obsession)." Genders. 9:35-48. 1990 Fall.

Written on the Wind

De Cordova, R.
"A case of mistaken legitimacy: class and generational difference in three family melodramas." In: Home is where the heart is : studies in melodrama and the woman's film / edited by Christine Gledhill. London : British Film Institute, 1987.
Main Stack PN1995.9.M4.H6
PFA PN1995.9.M45.H6 1987

Eisenstein, Ken
"They are like black lakes troubled by fantastic moons." Framework: The Journal of Cinema and Media, Volume 50, Numbers 1 & 2, Spring & Fall 2009, pp. 183-189
UC users only
Elsaesser, T.
"Tales of sound and fury: observations on the family melodrama." In: Home is where the heart is : studies in melodrama and the woman's film / edited by Christine Gledhill. London : British Film Institute, 1987.
Main Stack PN1995.9.M4.H6
PFA PN1995.9.M45.H6 1987

Klinger, Barbara
"Selling Melodrama: Sex, Affluence, and Written on the Wind." In: Melodrama and meaning : history, culture, and the films of Douglas Sirk / Barbara Klinger. Bloomington : Indiana University Press, c1994.
Main (Gardner) Stacks PN1998.3.S57 K55 1994

Klinger, Barbara.
"Much Ado about Excess: Genre, Mise-en-Scene and the Woman in Written on the Wind." Wide Angle 11(4):4-22. 1989 Oct.

Luzon, Vicky.
"Raving about Things That Won't Solve: Marylee Hadley in Written on the Wind." Miscelanea: a Journal of English & American Studies. 22:83-99. 2000

Orr, Christopher
"Closure and Containment: Marylee Hadley in Written on the Wind." In: Imitations of life : a reader on film and television melodrama
Edited by Marcia Landy. Detroit : Wayne State University Press, c1991.
Main PN1995.9.M45 I45 1991
Moffitt PN1995.9.M45 I45 1991

Orr, Christopher.
"Written on the Wind and the Ideology of Adaptation." Film Criticism. 10(3):1-8. 1985 Spring.
UC users only

Wegner, Hart.
"Melodrama as Tragic Rondo: Douglas Sirk's Written on the Wind." Literature-Film Quarterly.10(3):155-161. 1982.
UC users only

Wood, Robin.
"Written on the Wind." In: In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson pp: 24-26. Oxford; New York: Oxford University Press, 1998.
Main Stack PN1995.O93 1998

Douglas Sirk (Detlev Sierck) in Germany

Halliday, Jon.
"Notes on Sirk's German Films." Screen 12.2 (1971): 8-13.

Koch, Gertrud
"From Detlef Sierck to Douglas Sirk." Film Criticism Wntr-Spring 1999 p14 (7224 words)
UC users only
" Filmmaker Douglas Sirk examines the origins of social conflicts within his works. Many of Sirk's plots are based on confrontations between societies based on values and those based on abstract rules. Other themes he explores include sexual repression and homosexuality, ethnic identity, gender performance and the bonds between family members." [Expanded Academic Index]

Petley, Julian
"Sirk in Germany." (film director Douglas Sirk). Sight and Sound Winter 1987 v57 n1 p58(4)

Schulte-Sasse, Linda.
"Douglas Sirk's Schlubakkord and the question of aesthetic resistance." The Germanic Review, Wntr 1998 v73 n1 p2(30)
UC users only
"It is difficult to prove that Douglas Sirk's films offer resistance to National Socialism. If they do at all, they do it by reflecting on desire for the impossible. While Nazism pathologically reflects on the desire for harmony, purity and wholeness, Sirk's German films express desire and its contradictory dependency on harmony and exclusion." [Expanded Academic Index]

Silberman, Marc.
"Probing the limits: Detlef Sierck's To new shores." In: German cinema : texts in context / Marc Silberman. Detroit : Wayne State University Press, c1995.
Main Stack PN1993.5.G3.S54 1995

La Habanera

Ascheid, Antje.
"A Sierckian double image: the narration of Zarah Leander as a National Socialist star." Film Criticism; 1999, Vol. 23 Issue 2/3, p46-73, 28p
UC users only

Babington, Bruce.
"Written by the Wind: Sierck/Sirk's La Habanera (1937)" Forum for Modern Language Studies 31. 1 (1995 Jan): 24-36.
UC users only

Bonnell, Andrew G.
"Melodrama for the master race: two films by Detlef Sierck (Douglas Sirk)." Film History Vol X nr 2 (1998); p 208-218
UC users only

Koepnick, Lutz Peter
"Engendering Mass Culture: Zarah Leander and the Economy of Desire." In: The dark mirror : German cinema between Hitler and Hollywood / Lutz Koepnick. Berkeley : University of California Press, c2002.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks; Moffitt PN1993.5.G3 K645 2002
Moffitt PN1993.5.G3 K645 2002)

Kuzniar, Alice A.
"Zarah Leander and transgender specularity." Film Criticism, Winter/Spring 1999, Vol. 23 Issue 2-3, p74-93, 20p
UC users only

Lee, David E.
"A Flash of Enlightenment: A Brechtian Moment in Douglas Sirk's La Habanera." Monatshefte Fall 2008 vol. 100 no. 3 400-414
UC users only

Nadar, Thomas R.
"The Director and the Diva: The Film Musicals of Detlef Sierck and Zarah Leander: Zu neuen Ufern and La Habanera." In: Cultural history through a Nazi lens : essays on the cinema of the Third Reich / edited by Robert C. Reimer. Rochester, NY : Camden House, 2000.
Main Stack PN1995.9.N36.C85 2000

Rentschler, Eric.
"Astray in the New World: La Habanera (1937)." In: The ministry of illusion : Nazi cinema and its afterlife Cambridge, Mass. : Harvard University Press, 1996.
Main (Gardner) Stacks PN1995.9.N36 R46 1996

Sandberg, Claudia.
"Far from home? Functions of escapism and portrayal of the tropics in La Habanera (1937)." Studies in European Cinema, 2009, Vol. 6 Issue 1, p63-76, 14p
UC users only

Schlussakkord (Final Chord, 1936)

Hake, Sabine
"Detlef Sierck And Schlussakkord (Final Chord, 1936): A Case Study Of Film Authorship." In: Popular cinema of the Third Reich. Austin: University of Texas Press, 2001.
Full-text of this book available online via ebrary [UC Berkeley users only]
Main PN1995.9.N36 H34 2001

Hake, Sabine.
"The melodramatic imagination of Detlef Sierck: Final Chord and its resonances ." Screen (1997) 38(2): 129-148
UC users only

Schulte-Sasse, Linda.
"Douglas Sirk's Schlußakkord and the question of aesthetic resistance." The Germanic Review, Wntr 1998 v73 n1 p2(30)
UC users only

Zu neuen Ufern

Bonnell, Andrew G.
"Melodrama for the master race: two films by Detlef Sierck (Douglas Sirk)." Film History Vol X nr 2 (1998); p 208-218
UC users only
Koepnick, Lutz. "Sirk and the Culture Industry: Zu neuen Ufern and The First Legion." Film Criticism Wntr-Spring 1999 p94 UC users only

Nadar, Thomas R.
"The Director and the Diva: The Film Musicals of Detlef Sierck and Zarah Leander: Zu neuen Ufern and La Habanera." In: Cultural history through a Nazi lens : essays on the cinema of the Third Reich / edited by Robert C. Reimer. Rochester, NY : Camden House, 2000.
Main Stack PN1995.9.N36.C85 2000

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