The continental connection

Tobias Hochscherf is Professor of Audiovisual Media at the University of Applied Sciences Kiel in Germany.

This study is a major appraisal of the contributions of German-speaking émigrés to British cinema from the late 1920s to the end of World War II.

List of illustrationsAcknowedgments1. Introduction2. Transnational developments and migrants: the internationalisationof British studios, 1927-33Film Europe as prerequisite: transnational networks in European cinemaThe thriving film industry in the UK and the UFA crisisElstree as centre of immigration: Ewald André Dupont and BIPA new job for everyone? Immigration and the employment strategies ofBritish production companies in the late 1920sInternationalism and the 'unpleasant emotional appeal':Cosmopolitan émigré films and their reception in Britain3. Refugees from the Third Reich: 1933-39British immigration policies and the internment of émigrésLondon's émigré community and exile film genresÉmigrés and politics: censorship and propaganda before the warÉmigrés and displacement: Representations of the diaspora and recollections of the HeimatResentment and protectionism: Public opinion and theAssociation of Cinematograph Technicians (ACT)4. 'What a difference a war makes': German-speaking 'enemy aliens'and valuable allies, 1939-45British anti-Nazi films and German-speaking personnelRepresentations of émigrés after the declaration of war5. Conclusions: The Legacy of German-speaking Filmmakers in BritainAfterthought: Postwar Émigré Careers and theQuestion of Remigration, 1945-49SourcesSelect bibliography