Tim Bergfelder is Professor in Film at the University of Southampton. He is the author of International Adventures: Popular German Cinema and European Co-Productions in the 1960s (2005). His co-edited or co-authored volumes include The German Cinema Book (2002), The Titanic in Myth and Memory: Representations in Visual and Literary Culture (2004), and Film Architecture and the Transnational Imagination (2007).

• AcknowledgementsChapter 1. Introduction: German-speaking Emigrés and British Cinema, 1925–50: Cultural Exchange, Exile and the Boundaries of National CinemaTim BergfelderChapter 2. Life Is a Variety Theatre: E.A. Dupont’s Career in German and British CinemaTim BergfelderChapter 3. Geza von Bolvary, Arnold Ridley and ‘Film Europe’Lawrence NapperChapter 4. Inside the Robots’ Castle: Ufa’s English-language Versions in the Early 1930sChris WahlChapter 5. Flamboyant Realism: Werner Brandes and British International Pictures in the Late 1920sKelly RobinsonChapter 6. Famously Unknown: Günther Krampf’s Work as Cinematographer in British FilmsMichael OmastaChapter 7. ‘German, or still more horrible thought, Russian – at any rate, it is un-English!’ A Wide Shot of Exile, Emigré and Itinerant Activity in the British Film Industry in the 1930sAmy SargeantChapter 8. Extending Frames and Exploring Spaces: Alfred Junge, Set Design and Genre in British CinemaSarah StreetChapter 9. Lost in Siberia: Ernö Metzner in Britain LaurieN. EdeChapter 10. ‘Be kvite kviet, everybody, please!’: Paul L. Stein and British CinemaChristian CargnelliChapter 11. Allegories of Displacement: Conrad Veidt’s British FilmsGerd GemündenChapter 12. Anton Walbrook: The Continental ConsortMichael WilliamsChapter 13. From ‘Alien Person’ to ‘Darling Lilli’: Lilli Palmer’s Roles in British CinemaBarbara ZiereisChapter 14. ‘You call us “Germans”, you call us “brothers” – but we are not your brothers!’: British Anti-Nazi Films and German speaking EmigrésTobias HochscherfChapter 15. Carl Mayer: Years of Exile in LondonBrigitte MayrChapter 16. Music for the People: Escapism and Social Comment in the Work of Hans May and Ernst MeyerGeoff BrownChapter 17. I Know Where I’m Going! Hearing Germanic Music in the Scottish IslesK.J. DonnellyChapter 18. ‘An Animated Quest for Freedom’: Mátyás Seiber’s Score for The Magic CanvasFlorian SchedingNotes on ContributorsBibliographyIndex

“…addresses one of the historically most neglected topics in exile studies…[The] chapters…are of a very high quality, written in an accessible and engaging style… Hopefully, Destination London will inspire more examinations of German speaking émigré film makers in Britain.”  ·  Historical Journal of Film, Radio and Television“…the volume not only makes a significant contribution to film history, it also further intervenes in broader contemporary debates on transnationalism in and beyond Germany. The scope of this intervention is drawn out admirably in Bergfelder’s introduction.”  ·  Monatshefte“This anthology addresses a subject which has long needed careful documentation and is one which Bergfelder and Cargnelli… are probably uniquely equipped to deal with. This is a book which genuinely fills a gap (is there any other legitimate reason for a book’s existence?) and in doing so is eminently readable as well as scholarly…there is more work to be done in this field of enquiry but this anthology ensures that the project is well under way.”   ·  Journal of British Cinema and Television"Rarely have essays in a collection been written so fluently and interesting as is the case here; successful translations from the German add to the overall positive impression. Bergfelder and Cargnelli succeeded in producing a most attractive volume."  ·  rezens.tfm“All the essays of this volume are interesting to read and thoroughly researched. Altogether, they prompt new reflections on aspects of British cinema in the early years of frequent co-production and later during the flow of film personnel escaping the Nazi regime. Moreover, this study clearly outlines how importantly set designers, cameramen, scriptwriters and composers contribute to film production, but they are often ignored because of primary interest in directors and actors.”  ·  Edge“Destination London is a welcome and successful contribution to German and British film studies as well as, more generally, to European cultural history… [It] demonstrates convincingly that the work growing out of this often compelled cosmopolitanism is to be taken seriously and at length, for it yielded frequently overlooked contributions to the British film industry and culture more generally.”  ·  European History Quarterly

Tim Bergfelder is Professor in Film at the University of Southampton. He is the author of International Adventures: Popular German Cinema and European Co-Productions in the 1960s (2005). His co-edited or co-authored volumes include The German Cinema Book (2002), The Titanic in Myth and Memory: Representations in Visual and Literary Culture (2004), and Film Architecture and the Transnational Imagination (2007).

• AcknowledgementsChapter 1. Introduction: German-speaking Emigrés and British Cinema, 1925–50: Cultural Exchange, Exile and the Boundaries of National CinemaTim BergfelderChapter 2. Life Is a Variety Theatre: E.A. Dupont’s Career in German and British CinemaTim BergfelderChapter 3. Geza von Bolvary, Arnold Ridley and ‘Film Europe’Lawrence NapperChapter 4. Inside the Robots’ Castle: Ufa’s English-language Versions in the Early 1930sChris WahlChapter 5. Flamboyant Realism: Werner Brandes and British International Pictures in the Late 1920sKelly RobinsonChapter 6. Famously Unknown: Günther Krampf’s Work as Cinematographer in British FilmsMichael OmastaChapter 7. ‘German, or still more horrible thought, Russian – at any rate, it is un-English!’ A Wide Shot of Exile, Emigré and Itinerant Activity in the British Film Industry in the 1930sAmy SargeantChapter 8. Extending Frames and Exploring Spaces: Alfred Junge, Set Design and Genre in British CinemaSarah StreetChapter 9. Lost in Siberia: Ernö Metzner in Britain LaurieN. EdeChapter 10. ‘Be kvite kviet, everybody, please!’: Paul L. Stein and British CinemaChristian CargnelliChapter 11. Allegories of Displacement: Conrad Veidt’s British FilmsGerd GemündenChapter 12. Anton Walbrook: The Continental ConsortMichael WilliamsChapter 13. From ‘Alien Person’ to ‘Darling Lilli’: Lilli Palmer’s Roles in British CinemaBarbara ZiereisChapter 14. ‘You call us “Germans”, you call us “brothers” – but we are not your brothers!’: British Anti-Nazi Films and German speaking EmigrésTobias HochscherfChapter 15. Carl Mayer: Years of Exile in LondonBrigitte MayrChapter 16. Music for the People: Escapism and Social Comment in the Work of Hans May and Ernst MeyerGeoff BrownChapter 17. I Know Where I’m Going! Hearing Germanic Music in the Scottish IslesK.J. DonnellyChapter 18. ‘An Animated Quest for Freedom’: Mátyás Seiber’s Score for The Magic CanvasFlorian SchedingNotes on ContributorsBibliographyIndex

“…addresses one of the historically most neglected topics in exile studies…[The] chapters…are of a very high quality, written in an accessible and engaging style… Hopefully, Destination London will inspire more examinations of German speaking émigré film makers in Britain.”  ·  Historical Journal of Film, Radio and Television“…the volume not only makes a significant contribution to film history, it also further intervenes in broader contemporary debates on transnationalism in and beyond Germany. The scope of this intervention is drawn out admirably in Bergfelder’s introduction.”  ·  Monatshefte“This anthology addresses a subject which has long needed careful documentation and is one which Bergfelder and Cargnelli… are probably uniquely equipped to deal with. This is a book which genuinely fills a gap (is there any other legitimate reason for a book’s existence?) and in doing so is eminently readable as well as scholarly…there is more work to be done in this field of enquiry but this anthology ensures that the project is well under way.”   ·  Journal of British Cinema and Television"Rarely have essays in a collection been written so fluently and interesting as is the case here; successful translations from the German add to the overall positive impression. Bergfelder and Cargnelli succeeded in producing a most attractive volume."  ·  rezens.tfm“All the essays of this volume are interesting to read and thoroughly researched. Altogether, they prompt new reflections on aspects of British cinema in the early years of frequent co-production and later during the flow of film personnel escaping the Nazi regime. Moreover, this study clearly outlines how importantly set designers, cameramen, scriptwriters and composers contribute to film production, but they are often ignored because of primary interest in directors and actors.”  ·  Edge“Destination London is a welcome and successful contribution to German and British film studies as well as, more generally, to European cultural history… [It] demonstrates convincingly that the work growing out of this often compelled cosmopolitanism is to be taken seriously and at length, for it yielded frequently overlooked contributions to the British film industry and culture more generally.”  ·  European History Quarterly

Tim Bergfelder is Professor in Film at the University of Southampton. He is the author of International Adventures: Popular German Cinema and European Co-Productions in the 1960s (2005). His co-edited or co-authored volumes include The German Cinema Book (2002), The Titanic in Myth and Memory: Representations in Visual and Literary Culture (2004), and Film Architecture and the Transnational Imagination (2007).

• AcknowledgementsChapter 1. Introduction: German-speaking Emigrés and British Cinema, 1925–50: Cultural Exchange, Exile and the Boundaries of National CinemaTim BergfelderChapter 2. Life Is a Variety Theatre: E.A. Dupont’s Career in German and British CinemaTim BergfelderChapter 3. Geza von Bolvary, Arnold Ridley and ‘Film Europe’Lawrence NapperChapter 4. Inside the Robots’ Castle: Ufa’s English-language Versions in the Early 1930sChris WahlChapter 5. Flamboyant Realism: Werner Brandes and British International Pictures in the Late 1920sKelly RobinsonChapter 6. Famously Unknown: Günther Krampf’s Work as Cinematographer in British FilmsMichael OmastaChapter 7. ‘German, or still more horrible thought, Russian – at any rate, it is un-English!’ A Wide Shot of Exile, Emigré and Itinerant Activity in the British Film Industry in the 1930sAmy SargeantChapter 8. Extending Frames and Exploring Spaces: Alfred Junge, Set Design and Genre in British CinemaSarah StreetChapter 9. Lost in Siberia: Ernö Metzner in Britain LaurieN. EdeChapter 10. ‘Be kvite kviet, everybody, please!’: Paul L. Stein and British CinemaChristian CargnelliChapter 11. Allegories of Displacement: Conrad Veidt’s British FilmsGerd GemündenChapter 12. Anton Walbrook: The Continental ConsortMichael WilliamsChapter 13. From ‘Alien Person’ to ‘Darling Lilli’: Lilli Palmer’s Roles in British CinemaBarbara ZiereisChapter 14. ‘You call us “Germans”, you call us “brothers” – but we are not your brothers!’: British Anti-Nazi Films and German speaking EmigrésTobias HochscherfChapter 15. Carl Mayer: Years of Exile in LondonBrigitte MayrChapter 16. Music for the People: Escapism and Social Comment in the Work of Hans May and Ernst MeyerGeoff BrownChapter 17. I Know Where I’m Going! Hearing Germanic Music in the Scottish IslesK.J. DonnellyChapter 18. ‘An Animated Quest for Freedom’: Mátyás Seiber’s Score for The Magic CanvasFlorian SchedingNotes on ContributorsBibliographyIndex

“…addresses one of the historically most neglected topics in exile studies…[The] chapters…are of a very high quality, written in an accessible and engaging style… Hopefully, Destination London will inspire more examinations of German speaking émigré film makers in Britain.”  ·  Historical Journal of Film, Radio and Television“…the volume not only makes a significant contribution to film history, it also further intervenes in broader contemporary debates on transnationalism in and beyond Germany. The scope of this intervention is drawn out admirably in Bergfelder’s introduction.”  ·  Monatshefte“This anthology addresses a subject which has long needed careful documentation and is one which Bergfelder and Cargnelli… are probably uniquely equipped to deal with. This is a book which genuinely fills a gap (is there any other legitimate reason for a book’s existence?) and in doing so is eminently readable as well as scholarly…there is more work to be done in this field of enquiry but this anthology ensures that the project is well under way.”   ·  Journal of British Cinema and Television"Rarely have essays in a collection been written so fluently and interesting as is the case here; successful translations from the German add to the overall positive impression. Bergfelder and Cargnelli succeeded in producing a most attractive volume."  ·  rezens.tfm“All the essays of this volume are interesting to read and thoroughly researched. Altogether, they prompt new reflections on aspects of British cinema in the early years of frequent co-production and later during the flow of film personnel escaping the Nazi regime. Moreover, this study clearly outlines how importantly set designers, cameramen, scriptwriters and composers contribute to film production, but they are often ignored because of primary interest in directors and actors.”  ·  Edge“Destination London is a welcome and successful contribution to German and British film studies as well as, more generally, to European cultural history… [It] demonstrates convincingly that the work growing out of this often compelled cosmopolitanism is to be taken seriously and at length, for it yielded frequently overlooked contributions to the British film industry and culture more generally.”  ·  European History Quarterly