Jan-Christopher Horak is former Director of UCLA Film & Television Archive. Previously he was Director at Munich Filmmuseum, and Curator, George Eastman Museum. He has had professorships in Rochester, Munich, Salzburg, UCLA, and Miami, and presently is teaching at Chapman. He has published more than three hundred articles and reviews in English, German, French, Italian, Dutch, Spanish, Hungarian, Czech, Polish, Swedish, Japanese, and Hebrew publications.

• List of IllustrationsAcknowledgementsForewordDavid Thiele and Linda ThieleIntroductionJan-Christopher Horak and Andréas-Benjamin SeyfertPart I: Wilhelm Thiele’s Early CareerChapter 1. Towards Thiele: A Director in the MakingPhilipp StiasnyChapter 2. Across Studio Borders: From Hurra, ich lebe (1928) to The Ghost Comes Home (1940)Andréas-Benjamin SeyfertChapter 3. Modeling Female Agency: Wilhelm Thiele’s Adieu Macotte (1929)Heike KlapdorPart II: Thiele in Europe’s Sound Film Babel, 1929–1933Chapter 4. From Liebeswalzer (1930) to Die Drei von der Tankstelle (1930): Thiele and the Formation of the UFA Sound Film OperettaMichael WedelChapter 5. “Why Settle So Low?”: Fantasies of Female Self-Fulfillment in Wilhelm Thiele’s Die Privatsekretärin (1931)Christian RogowskiChapter 6. “Greater Success Than Ever Before in Your New Workshop”: Wilhelm Thiele in BritainGeoff BrownChapter 7. “Fate Goes Like This, and Everything’s Gone”: Großfürstin Alexandra (1933), Exile, and RenunciationAnjeana K. HansPart III: Thiele in Hollywood, 1935–1946Chapter 8. Embracing the Off-White: Race and Sex in William Thiele’s Jungle Princess (1936)Valerie WeinsteinChapter 9. Times of Adjustment: Celebrated Innocence and Mass Production in Beg, Borrow or Steal (1937), Bridal Suite (1939), and Bad Little Angel (1940)Imme KlagesChapter 10. Me Thiele, You TarzanMarianna TorgovnickChapter 11. “I’m a Bit Gloomy This Evening.” Forgotten Noir: The Madonna’s Secret (1946)Christian CargnelliPart IV: American Television and Post-War Germany, 1949–1960Chapter 12. Thiele at ApexJan-Christopher HorakChapter 13. The Misfits Make America: Wilhelm Thiele’s The Lone Ranger EpisodesA. Dana WeberChapter 14. William Thiele’s Last Hurrah: Der letzte Fußgänger (1960) and Sabine und die 100 Männer (1960)Jan-Christopher HorakConclusionJan-Christopher Horak and Andréas-Benjamin SeyfertCodaFilmographyHans-Michael BockInterview with W. and B. ThieleJan-Christopher HorakIn His Brother’s Shadow: The Cinema of Eugen ThieleArmin Loacker

Jan-Christopher Horak is former Director of UCLA Film & Television Archive. Previously he was Director at Munich Filmmuseum, and Curator, George Eastman Museum. He has had professorships in Rochester, Munich, Salzburg, UCLA, and Miami, and presently is teaching at Chapman. He has published more than three hundred articles and reviews in English, German, French, Italian, Dutch, Spanish, Hungarian, Czech, Polish, Swedish, Japanese, and Hebrew publications.

• List of IllustrationsAcknowledgementsForewordDavid Thiele and Linda ThieleIntroductionJan-Christopher Horak and Andréas-Benjamin SeyfertPart I: Wilhelm Thiele’s Early CareerChapter 1. Towards Thiele: A Director in the MakingPhilipp StiasnyChapter 2. Across Studio Borders: From Hurra, ich lebe (1928) to The Ghost Comes Home (1940)Andréas-Benjamin SeyfertChapter 3. Modeling Female Agency: Wilhelm Thiele’s Adieu Macotte (1929)Heike KlapdorPart II: Thiele in Europe’s Sound Film Babel, 1929–1933Chapter 4. From Liebeswalzer (1930) to Die Drei von der Tankstelle (1930): Thiele and the Formation of the UFA Sound Film OperettaMichael WedelChapter 5. “Why Settle So Low?”: Fantasies of Female Self-Fulfillment in Wilhelm Thiele’s Die Privatsekretärin (1931)Christian RogowskiChapter 6. “Greater Success Than Ever Before in Your New Workshop”: Wilhelm Thiele in BritainGeoff BrownChapter 7. “Fate Goes Like This, and Everything’s Gone”: Großfürstin Alexandra (1933), Exile, and RenunciationAnjeana K. HansPart III: Thiele in Hollywood, 1935–1946Chapter 8. Embracing the Off-White: Race and Sex in William Thiele’s Jungle Princess (1936)Valerie WeinsteinChapter 9. Times of Adjustment: Celebrated Innocence and Mass Production in Beg, Borrow or Steal (1937), Bridal Suite (1939), and Bad Little Angel (1940)Imme KlagesChapter 10. Me Thiele, You TarzanMarianna TorgovnickChapter 11. “I’m a Bit Gloomy This Evening.” Forgotten Noir: The Madonna’s Secret (1946)Christian CargnelliPart IV: American Television and Post-War Germany, 1949–1960Chapter 12. Thiele at ApexJan-Christopher HorakChapter 13. The Misfits Make America: Wilhelm Thiele’s The Lone Ranger EpisodesA. Dana WeberChapter 14. William Thiele’s Last Hurrah: Der letzte Fußgänger (1960) and Sabine und die 100 Männer (1960)Jan-Christopher HorakConclusionJan-Christopher Horak and Andréas-Benjamin SeyfertCodaFilmographyHans-Michael BockInterview with W. and B. ThieleJan-Christopher HorakIn His Brother’s Shadow: The Cinema of Eugen ThieleArmin Loacker

Jan-Christopher Horak is former Director of UCLA Film & Television Archive. Previously he was Director at Munich Filmmuseum, and Curator, George Eastman Museum. He has had professorships in Rochester, Munich, Salzburg, UCLA, and Miami, and presently is teaching at Chapman. He has published more than three hundred articles and reviews in English, German, French, Italian, Dutch, Spanish, Hungarian, Czech, Polish, Swedish, Japanese, and Hebrew publications.

• List of IllustrationsAcknowledgementsForewordDavid Thiele and Linda ThieleIntroductionJan-Christopher Horak and Andréas-Benjamin SeyfertPart I: Wilhelm Thiele’s Early CareerChapter 1. Towards Thiele: A Director in the MakingPhilipp StiasnyChapter 2. Across Studio Borders: From Hurra, ich lebe (1928) to The Ghost Comes Home (1940)Andréas-Benjamin SeyfertChapter 3. Modeling Female Agency: Wilhelm Thiele’s Adieu Macotte (1929)Heike KlapdorPart II: Thiele in Europe’s Sound Film Babel, 1929–1933Chapter 4. From Liebeswalzer (1930) to Die Drei von der Tankstelle (1930): Thiele and the Formation of the UFA Sound Film OperettaMichael WedelChapter 5. “Why Settle So Low?”: Fantasies of Female Self-Fulfillment in Wilhelm Thiele’s Die Privatsekretärin (1931)Christian RogowskiChapter 6. “Greater Success Than Ever Before in Your New Workshop”: Wilhelm Thiele in BritainGeoff BrownChapter 7. “Fate Goes Like This, and Everything’s Gone”: Großfürstin Alexandra (1933), Exile, and RenunciationAnjeana K. HansPart III: Thiele in Hollywood, 1935–1946Chapter 8. Embracing the Off-White: Race and Sex in William Thiele’s Jungle Princess (1936)Valerie WeinsteinChapter 9. Times of Adjustment: Celebrated Innocence and Mass Production in Beg, Borrow or Steal (1937), Bridal Suite (1939), and Bad Little Angel (1940)Imme KlagesChapter 10. Me Thiele, You TarzanMarianna TorgovnickChapter 11. “I’m a Bit Gloomy This Evening.” Forgotten Noir: The Madonna’s Secret (1946)Christian CargnelliPart IV: American Television and Post-War Germany, 1949–1960Chapter 12. Thiele at ApexJan-Christopher HorakChapter 13. The Misfits Make America: Wilhelm Thiele’s The Lone Ranger EpisodesA. Dana WeberChapter 14. William Thiele’s Last Hurrah: Der letzte Fußgänger (1960) and Sabine und die 100 Männer (1960)Jan-Christopher HorakConclusionJan-Christopher Horak and Andréas-Benjamin SeyfertCodaFilmographyHans-Michael BockInterview with W. and B. ThieleJan-Christopher HorakIn His Brother’s Shadow: The Cinema of Eugen ThieleArmin Loacker