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a number of studies which examine exile in other countries such as the UK. See, for instance: Bergfelder, Tim & Cargnelli, Christian (eds.). Destination London - German-Speaking Émigrés and British Cinema 1925 -1950. New York/ NY: Berghahn, 2008; Bergfelder, Tim, Harris, Sue, Street, Sarah. Cinema and the Transnational Imagination - Set-Design in 1930s European Cinema. Amsterdam: Rodopi, 1999.
6 In German: '[...] das den Umkreis der Verbrannten und Verbotenen absteckt', an allusion to the book's title.
7 Paul Andor's real name was Wolfgang Zilzer, but he also went by the name of John Voight. Carl Esmond's birth name was Willi Eichberger.
8 One inaccuracy, for instance, concerns Horak's claim that Lion Feuchtwanger and Franz Werfel had received a writers' contract from the studios, which is incorrect as according to a letter by Liesl Frank to John Spalek, 'Lion Feuchtwanger [and] Franz Werfel were offered contracts, [but] chose not to accept them' (see: Letter by Liesl Frank-Mittler-Lustig to John Spalek, 18th July, 1971, Private Collection, John Spalek, Albany, NY). The reason for that was that both Feuchtwanger and Werfel had a wide readership in the US and thus did not have to rely on the German market for the sale of their books.
9 Since 1984, Cinegraph has also published the Lexikon zum deutschsprachigen Film, which is regularly updated.
10 Email from Jan-Christopher Horak to the author, 18th June 2007.
11 Taylor, John Russell. Hitch: The Life and Times of Alfred Hitchcock. New York/ NY: Pantheon Books, 1981; Preston Sturges. London: Secker and Warburg, 1967; Ingrid Bergman. London: St. Martin's Press, 1983.
12 For instance, the M.E. Grenander Department of Special Collections at the University of Albany was inaugurated in 1996; The Kinemathek in Berlin acquired the Paul Kohner Archive in 1989, the year after Kohner's death. Similarly, it was a year before her death in 1988, that Marta Feuchtwanger bequeathed her husband's papers and documents to the University of Southern California which has subsequently turned it into the Feuchtwanger Memorial Library. Access to these sources later facilitated exile research, however, at the time Horak embarked on his pioneering study, these sources were not yet available.
13 For instance: Ernst Jünger. Paris: Hachette, 1996; Piscator et le théatre politique. Paris: Payot, 1983.
14 Paul Schrader's Notes on Film Noir (In: Belton, John (ed.). Movies and Mass Culture. London: The Athlone Press, 1999) were first published in 1971.
15 Aufbau was one of the main émigré publications. Founded in 1934, it was based in New York. Many émigrés including Hannah Arendt, Hans Sahl, and Carl Zuckmayer contributed articles.
16 One example is Mayerling, Anatole Litvak, France 1935, written by Irmgard von Cube, and produced by Seymour Nebenzal.
17 In 1931, Kurt Gerron directed 6 cabaret films, Kabarett-Programm 1 - 6.
18 Siegfried Kracauer, Von Caligari zu Hitler, Frankfurt/ Main: Suhrkamp, 1984 (translation by Ruth Baumgarten and Karsten Witte).
19 Zuckmayer, Carl, Der Hauptmann von Koepenick. Berlin: Propylaen Verlag, 1931; The Captain from Köpenick, Richard Oswald, Germany 1931
Example: Horak, Jan-Christopher. Anti-Nazi Filme der deutschsprachigen Emigration 1939 - 1945. Muenster: MAKS, 1984.
21 Ernst Lubitsch, for example, worked for Warner Bros. as early as 1924; thirty years later, émigré director Andre de Toth also still made films for Warner Bros.
22 Universal had their own production offices in Berlin which they closed in Spring 1934.
23 Between 1925 and 1927 Paramount and MGM were affiliated with UFA through ParUfaMet, a deal that proved disadvantageous for UFA as in exchange for a much needed loan, UFA had to agree to very injurious screening slots of its own films both in Germany and in the US.
24 Although the team of Pasternak, Koster, Jackson and Durbin collaborated on only two films, Koster directed altogether six of Durbin's films while Pasternak was the producer of seven of her films. Jackson, who would become Durbin's husband, wrote two Durbin musicals and later, after Pasternak had left Universal for MGM, he took over as producer of five of Durbin's films. For a complete listing see: Filmography.
25 The song, 'Meet Me In St. Louis', was written by Andrew B. Sterling and Kerry Mills specifically for the World Fair in 1904 which took place in St. Louis.
26 Louis B. Mayer, vice president and General Manager of MGM from 1924 - 1951.
27 In December 2000, the French media conglomerate Vivendi acquired Universal Studios. As a result, the Universal archives were closed down in order to cut costs.
28 Letter by Liesl Frank to Marta Mierendorff, 25th June, 1971, Akademie der Künste, Berlin, Walter Wicclair Archiv, Box 5, EFF files.
29 Author's emphasis
30 Since 2006, the Stiftung Deutsche Kinemathek has been referred to as Deutsche Kinemathek only.
31 Paul Kohner's son, Pancho, and his widow, Lupita, in an interview with me, conducted on Saturday, June 24, 2006 at Musso and Frank's/ Hollywood.
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