Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen ed. by Philipp Stiasny, Jürgen Kasten, and Frederik Lang (review)

Reviewed by: Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen ed. by Philipp Stiasny, Jürgen Kasten, and Frederik Lang Barbara Mennel Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen. Edited by Philipp Stiasny, Jürgen Kasten, and Frederik Lang. Munich: edition + kritik, 2021. Pp. 454. Paper €39.00. ISBN 9783869168739. Extremely well-written, well-conceived, nicely illustrated, and thoroughly researched, Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen expands film studies, advances industry studies, and propels German film history. Each chapter presents significant stand-alone scholarship, while together the contributions map multiple perspectives on Ufa's importance for Germany, Europe, and global cinema. The volume's thematic clusters proceed along a loose historical chronology. The range of topics, from advertising to fashion and financing, exemplifies industry studies' broad scale. The volume serves as an interdisciplinary model for a burgeoning field. Philipp Stiasny's Introduction frames the collection by explaining its time frame, providing a brief overview of the significance of Ufa, and situating it in the context of previous studies. The first section on international co-production and distribution impresses with the combination of scope and detail, representative of the volume. Frederik Lang and Philipp Stiasny's co-authored essay on the relations between Ufa and European countries accounts for individual stars, directors, and films amidst national political tensions and interests. Michael Wedel's study of Hitchcock's time in Babelsberg traces the studio's influence in the director's later work. Similarly, Tobias Nagl's focus on science fiction demonstrates the influence of literature, war technology, the space race, and trick technology, all of which ran up against the Nazi prohibition of circulating information about rockets. The second section deepens the focus on the international circulation of Ufa films. Wolfgang Fuhrmann's essay stresses Ufa's distribution in Guatemala, Mexico, and Brazil. Karina Pryt offers a sophisticated account of the complex politics that defined the relation to Poland, while Karl Sierek traces cooperation with China and Japan, focusing on Japanese producers who visited Ufa and famous German directors abroad. Following the historical trajectory, Roel Vande Winkel recounts the restructuring of the studio during World War II, accounting for failures in the distribution abroad. In the context of international relations, the volume pays special attention to the relation between Ufa and Hollywood. Thomas J. Saunders analyzes the different agreements between Ufa and American studios, portraying the Parufamet-agreement [End Page 499] as an act of desperation. Patrick Rossler captures the challenges in creating advertising materials for other cultural contexts, and Rolf Giesen concentrates on technological transfer for trick and special features, such as models and optical effects. The volume dedicates one section to cultural and advertising films. The former, Anja Laukötter demonstrates, encountered challenges, such as censorship. Natasha Poljakow's fascinating account of the circulation of Ufa cultural films in the Soviet Union emphasizes their high number in Russian movie houses. Equally fascinating is Ralf Forster's study of the 1932 Henkel film advertising the laundry brand. An additional section highlights the studio's finances. Jürgen Kasten analyzes the effects of inflation and hyperinflation in international business relations on Ufa's continuous financial crisis. In a second article, he explains the financial consequences of Ufa's internal and external work processes, especially for monumental films. Armin Jäger deepens the exploration of financial dynamics by focusing on the transition from silent to sound film and from democracy to dictatorship, putting pressure on the studio's multi-faceted strategies for financial success. The emigration and exile of Ufa's Jewish members warrant its own section with two outstanding contributions. Christian Rogowski offers a case study of director Ludwig Berger, at the time of similar stature as Friedrich Wilhelm Murnau and Fritz Lang, but since then neglected. Its companion piece by Jan-Christopher Horak contrasts the fates of Robert Liebmann and Erik Charell, pointing to a gap in scholarship regarding Jewish film workers. An intriguing section features fashion. Tatjana Tschagina relates Ufa film and Stalin cinema with a unique perspective on familiar names, such as Sergei Eisenstein and Marlene Dietrich. Mila Ganeva's terrific account of film's relation to the fashion industry demonstrates the thematic range and scope...