Babylon Berlin, German Visual Spectacle, and Global Media Culture

List of Illustrations Notes on Contributors Introduction, Hester Baer (University of Maryland, College Park, USA) and Jill Suzanne Smith (Bowdoin College, USA)Part One: Babylon Berlin, Global Media, and Fan Culture 1. Quality TV Drama with Transnational Appeal: Industry Discourses on Babylon Berlin and the Changing Television Landscape in Germany, Florian Krauss (University of Siegen, Germany) 2. Defective Detective Meets Sassy Secretary, Plot Ensues: Babylon Berlin, TV Tropes, and the Cultural Implications of Pop Narratology, Doria Killian (University of North Carolina, Asheville, USA)Part Two: The Look and Sound of Babylon Berlin 3. Fashion for a Global Audience: 1920s Glamour and Grit, Mila Ganeva (Miami University, Ohio, USA) 4. Liquid Space and Digital Aesthetics in Babylon Berlin, Michael Sandberg (University of California, Berkeley) and Cara Tovey (University of California, Los Angeles, USA) 5. Recreating the Soundscape of Weimar: Sound Technologies, Trauma, and the Sonic Archive, Abby Anderton (Baruch College and CUNY Graduate Center, USA) 6. From Kahn to Kollwitz: Exploring the Significance of Art and Visual Culture in Babylon Berlin, Camilla Smith (University of Birmingham, UK)Part Three: Representing Weimar History 7. "Modernity in Babylon: The Media as Proponents of Modern Life in Babylon Berlin," Jochen Hung (Utrecht University, Netherlands) 8. Journalists and the Media as Proponents of Modern Life, Javier Samper Vendrell (University of Pennsylvania, USA) 9. Reading Queerness in Babylon Berlin, Darcy Buerkle (Smith College, USA)Part Four: Weimar Intertexts 10. Blood May Footage and the Archive Effect: The Political Ambivalence of Babylon Berlin as Appropriation Film, Sara F. Hall (University of Illinois, Chicago, USA) 11. Glitter and Post-Punk Doom: Babylon Berlin through the Lens of 1980s West Berlin, Julia Sneeringer (Queens College and the CUNY Graduate Center, USA) 12. Siegfried, Screen Memories, and the Fall of the

Hester Baer is Professor of German and Cinema & Media Studies at the University of Maryland, USA. She is the author of Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language (2009), German Cinema in the Age of Neoliberalism (2021), and a volume for the series German Film Classics on Ula Stöckl's The Cat Has Nine Lives (2022). She currently serves as co-editor of The German Quarterly. Jill Suzanne Smith is Associate Professor of German and a contributing faculty member in Cinema Studies, Gender, Sexuality, and Women's Studies, and Urban Studies at Bowdoin College, USA. She is the author of Berlin Coquette: Prostitution and the New German Woman 1890-1933 (2013) and a volume editor for the Bloomsbury series A Cultural History of Prostitution.