Introduction
Notes Introduction 1. Richard Brett-Smith, Berlin ’45: The Grey City (London: Macmillan, 1966), 54. 2. Anke Pinkert, Film and Memory in East Germany (Bloomington: Indiana Uni- versity Press, 2008); Robert R. Shandley, Rubble Films: German Cinema in the Shadow of the Third Reich (Philadelphia, PA: Temple University Press, 2001); Eric Rentschler, “The Place of Rubble in the Trümmerfilm,” in Julia Hell and Andreas Schönle (eds.), Ruins of Modernity (Durham, NC: Duke University Press, 2010), 418–39; Wilfried Wilms and William Rasch, German Postwar Films: Life and Love in the Ruins (Basingstoke: Palgrave Macmillan, 2008). 3. Histories of the Aftermath: The Cultural Legacies of the Second World War in Europe, ed. Frank Biess and Robert Moeller (New York: Berghahn Books, 2010). 4. Dagmar Herzog, Sex After Fascism: Memory and Morality in Twentieth-Century Germany (Princeton, NJ: Princeton University Press, 2005), 1. 5. On this point, see the essays in Hell and Schönle (eds.), Ruins of Modernity, especially Andreas Huyssen, “Authentic Ruins: Products of Modernity” and Todd Samuel Presner, “Hegel’s Philosophy of World History via Sebald’s Imaginary of Ruins: A Contrapuntal Critique of the “New Space’ of Modernity,” pp. 17–28 and 193–211. 6. Dorothy Rowe, Representing Berlin: Sexuality and the City in Imperial and Weimar Germany (Aldershot: Ashgate Publishing Ltd, 2003); Eric D. Weitz, Weimar Germany: Promise and Tragedy (Princeton, NJ: Princeton University Press, 2007). 7. Paul Rutherford draws on Bruno Latour’s We Have Never Been Modern (Cambridge, MA: Harvard University Press, 1993) in A World Made Sexy: Freud to Madonna (Toronto: University of Toronto Press, 2007), 9.
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