Languages, Literatures, & Cultures

Languages, Literatures, & Cultures

Publications by Dr. Franz A. Birgel


Straight through the Heart: Doris Dörrie, German Filmmaker and Author. Ed. Franz A. Birgel and Klaus Phillips. Lanham, MD and Oxford: Scarecrow Press, 2004.


Seven articles in Magill's Survey of Cinema: Foreign Films. Frank N. Magill, ed. 8 vols. Englewood Cliffs, NJ: Salem Press, 1985:

1. Andrei Rublev. Andrei Tarkovsky, dir. 1971. Co-authored by Marina Brodskaya. 116-21.
2. Deutschland im Herbst (Germany in Autumn). Alexander Kluge, Volker Schloendorff, Rainer Werner Fassbinder, et al., dir. 1978. 782-90. (Article has many typesetting errors.)
3. Der Kaiser von Kalifornien (The Emperor of California). Luis Trenker, dir. 1936. 971-76.
4. Fata Morgana. Werner Herzog, dir. 1971. 1047-53. (Article has typesetting errors.)
5. Jud Süß (Jew Süss). Veit Harlan, dir. 1940. 1595-02.
6. Der verlorene Sohn (The Prodigal Son). Luis Trenker, dir. 1934. 1828-32.
7. Lebenszeichen (Signs of Life). Werner Herzog, dir. 1968. 2772-80.

"Wieland and Wezel: Divergent Trends within the German Enlightenment." In Studies in Eighteenth-Century Culture. Vol. 26. Ed. Syndy M. Conger and Julie C. Hayes. Baltimore & London: Johns Hopkins UP, 1998. 139-50.

"Werner Herzog's Debt to Georg Büchner." In Annual of Film and Literature. Vol. 4 (1998): 5-13.

"Luis Trenker: A Rebel in the Third Reich?" In Through a National Socialist Lens: Cinema in Nazi Germany. Ed. Robert Reimer and intro. David Bathrick. Rochester, NY: Camden House, 2000. 37-64.

"Taboos exist to be broken: Ula Stöckl and Edgar Reitz' Geschichten vom Kübelkind." In West Virginia University Philological Papers. Vol. 48 (Special Issue: The Female Gaze in Literature and Film): 84-91.

"Das doppelte Lottchen from Munich to Napa Valley." In Verba et Litterae: Explorations in Germanic Languages and German Literature. Essays in Honor of Albert L. Lloyd. Ed. Alfred Wedel and Hans-Jörg Busch. Newark: Linguatext, 2002.

“Hans Schweikart’s Film Das Fräulein von Barnhelm: Lessing gets drafted into the Service of the Third Reich.” In The Many Face of Germany: Transformations in the Study of German Culture and History. Festschrift for Frank Trommler. Ed. John McCarthy et al. New York and Oxford: Berghahn Press, 2004.

“Happy Birthday! or is a private eye a type of family doctor?” In Straight through the Heart: Doris Dörrie, German Filmmaker and Author. Ed. Franz A. Birgel and Klaus Phillips. Lanham, MD and Oxford: Scarecrow Press, 2004.

“East Germany's Response to Karl May." In At the Crossroads of Cultures: Essays in Honor of Leonid D. Rudnytzky, On the Occasion of His 70th Jubilee. Ed. Albert Kipa and Oleh Kupchynsky. L’viv and Philadelphia, 2008. 85-104.

“Kuhle Wampe, Leftist Cinema, and the Politics of Film Censorship in Weimar Germany.” In Historical Reflections. 35, 2 (Summer 2009. Special Issue: “The Politics of French and German Cinema, 1930-1945”): 40-62.

A shortend version of this article is included in the DVD Kuhle Wampe – Censored! from the DEFA Film Library.


“The Only Good Indian is a DEFA Indian:  East German Variations on the Most American of All Genres.”  In International Westerns:  Relocating the Frontier.  Ed. Cynthia J. Miller and A. Bowdoin Van Riper.  Lanham, MD and Plymouth, UK:  Scarecrow Press, 2014.  37-62.  The uncensored, original version of the article is available online here through the Trexler Library. View Article

“Foreword” to As Emotional Disarray Escalates into Mental Disorder in Michael Berg’s“Hanna-Story”: The Fictive Narrator’s Aberrant Behavior as Cause for “Misreadings” of Bernhard Schlink’s Novel “Der Vorleser” by Edward R. McDonald.   Lewiston, New YorkEdwin Mellen Press, 2014.  i-v.


"You Can Go Home Again: An Interview with Edgar Reitz." (Regarding the film Heimat.) Film Quarterly 39.4 (Summer 1986): 2-10.

Book Reviews

Timothy Corrigan. New German Cinema: The Displaced Image. (Austin: University of Texas Press, 1983). Reviewed in Kino: German Film 15 (Venice Issue, Summer 1984): 58.

Klaus Phillips, ed. New German Filmmakers. From Oberhausen Through the 1970s. (New York: Ungar, 1984). Reviewed in German Quarterly 59.4 (Fall 1986): 686-88.

Eric Rentschler, ed. German Film and Literature: Adaptations and Transformations. (New York & London: Methuen, 1986). Reviewed in German Quarterly 60.4 (Fall 1987): 697-98.

Timothy Corrigan, ed. The Films of Werner Herzog: Between Mirage and History. (New York & London: Methuen, 1986). Reviewed in German Quarterly 61.3 (Summer 1988): 490-92.

Thomas Elsaesser. New German Cinema. A History. (New Brunswick, NJ: Rutgers University Press, 1989). Reviewed in Schatzkammer 17.1 (Spring 1991): 92-96.

Hans Günther Pflaum. Germany on Film. Trans. Richard C. Helt and Roland Richter (Detroit: Wayne State University Press, 1990). Reviewed in Schatzkammer 18.2 (Fall 1992): 70-72.

Patrick McGilligan. Fritz Lang: the nature of the beast. (New York: St. Martin's Press, 1997). Reviewed in Schatzkammer 24.1-2 (1998): 71-76.

Robert R. Shandley. Rubble Films: German Cinema in the Shadow
of the Third Reich (Philadelphia: Temple UP, 2001). Reviewed in Film
Quarterly 56,4 (Summer 2003): 61-63.

Sabine Hake. German National Cinema (London and New York:
Routledge, 2002). Reviewed in German Quarterly 76, 2 (Spring 2003): 254-55.

Randall Bytwerk. Bending Spines: the propagandas of Nazi Germany and the German Democratic Republic (East Lansing, Michigan State University Press, 2004). Reviewed in Historical Journal of Film, Radio and Television 26.4 (October 2006): 626-28

Film Reviews

Several reviews of German films in the Philadelphia City Paper.

Westerns with a Twist: The Sons of Great Bear (dir. Josef Mach), Chingachgook (dir. Richard Groschopp), and Apaches (dir. Gottfried Kolditz). First Run Features, 2006. Forthcoming in German Studies Review.


Die Spur des roten Vogels, an interactive computer program for studying German. Developed for in-house use only.