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 of British production companies in the late 1920sInternationalism and the ‘unpleasant emotional appeal’: Cosmopolitan émigré films and their reception in Britain3. Refugees from the Third Reich: 1933-39 British 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 the Association 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 the Question of Remigration, 1945-49Sources Select bibliography

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. Through a series of film analyses and case studies, it challenges notions of a self-sufficient British national cinema by advancing the assumption that filmmakers from Berlin, Munich and Vienna had a major influence on aesthetics, themes and narratives, technical innovation, the organisation of work and the introduction of apprenticeship schemes. Whether they came voluntarily or as refugees, their contributions and expertise helped to consolidate the studio system and ultimately made possible the establishment of a viable British film industry.Hochscherf talks about such figures as Ewald André Dupont, Alfred Junge, Oscar Werndorff, Mutz Greenbaum and Werner Brandes, and such companies as Korda’s London Film Productions, Powell and Pressburger’s The Archers and Michael Balcon’s Gaumont-British.