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Bernberg, the treatment of
Manuela and the ending of the film where the headmistress is forced out of the school after Manuela's attempted suicide. The bugles that conclude the film symbolise to Kraucer "that the principle of authority has not been shaken. The headmistress will continue to wield the scepter. And any possible softening of authoritarian discipline would only be in the interest of its preservation." Many people have refuted this argument however, including Nina Zimink who agrees that the bugle fair does symbolize that not everything is perfect after the departure of the headmistress, states that they signify "optimistic political development" in a world that is quite bleak. Whilst some critics, like Lisa Ohm and
840:, agreed with Siegfried's argument in one regard or another, the primary perspective is to move away from this critical view . Rich, who championed the film as unabashedly queer, states that "intrusion to the film is an antidote to viewing this all-female space as a "free zone" within a patriarchal society, which can be seen to dominate not only in the concrete form of the staircase or Principal, but in the equally threatening form of external authority that waits just outside the school gates". There are also thinkers like Veronika Mayer who call the film "liberating" especially when placed in contrast to
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1079:(1955), the narrator, Nick Jenkins, is re-united with his first major love, Jean Templer, after Jean and her sister-in-law, Mona, have returned to the Ritz (London) on New Year's Eve 1931, following a screening of the film. Jean is accompanied by her brother Peter. Nick (who has seen the film) is mildly mocked by his old schoolfriend Peter (who has not), for saying that the film is not primarily about lesbians.
52:
649:(1930). The film did, however, generate large amounts of fan mail to the stars from all over Germany and was considered a success throughout much of Europe. The goodnight kiss Hertha Thiele (Manuela) received from Dorothea Wieck (Fräulein von Bernburg) was especially popular. One distributor even asked for more footage of other kisses like it to splice into prints of the film.
304:
Fräulein von
Bernburg's compassion for the other girls, Manuela develops a passionate love for her teacher. The first spark of love begins with a goodnight kiss. Manuela receives this goodnight kiss on her first night at the school and, while the teacher normally gives all the girls a goodnight kiss on the forehead, Fräulein von Bernburg kisses her on the lips.
678:
dispersed around the world. Leontine Sagan (director) and many others associated with the film fled
Germany soon after the banning. Many of the cast and crew were Jewish, and those who could not escape from Germany died in the camps. Assistant director Walter Supper killed himself when it became clear his Jewish wife would be arrested.
1060:"Almost all the girls here have a crush on Miss von Bernburg. Oh, God! When I finally don't have to listen to that anymore. "Ilse! I envy you! You're in her dormitory! Oh, gosh, gosh, gosh! Tell me, is it true that she kisses you at night?" (Ilse von Westhagen introducing Fräulein von Bernburg to Manuela)
821:
believes it to be, among other things, "a film about sexual repression in the name of social harmony, about the absent patriarchy and its forms of presence, about bonds between women which represent attraction instead of repulsion, and about the release of powers that can accompany the identification
319:
Upon leaving Fräulein's von
Bernburg's office, Manuela prepares to jump from several stories up in the main staircase. The girls save her, and both Fräulein von Bernburg and the headmistress are shaken. The movie ends with all the girls watching the headmistress as she slowly walks down the stairwell
315:
The headmistress puts her in solitary, but
Manuela is moved out of solitary when the princess arrives at the school. After the duchess (Marte Hein) leaves, the headmistress scolds Fräulein von Bernburg's closeness with her students. Fräulein von Bernburg calls Manuela to her office and explains that
307:
After not knowing her recitation for Fräulein von
Bernburg's class, Manuela is asked to meet her in her room. Fräulein von Bernburg comments on the state of Manuela's clothes and gives Manuela one of her own petticoats. Manuela begins to weep and, after some time, confesses her love to Fräulein von
928:
At the FSK-Test on
December 8, 1949, the film was approved again and the restrictions were lifted. The film was then unofficially distributed as a video shown in women's centers. After that, the first public reproduction was in 1977 when a West German broadcasting organization decided to broadcast
1037:
version of the film was released. As a company, Criterion is dedicated to "publishing important classic and contemporary films from around the world... in state-of-the-art restorations with special features designed to encourage repeated watching and deepen the viewer's appreciation of the art of
311:
When the girls prepare to put on the play Don Carlos by
Friedrich Schiller for the headmistress's birthday, Manuela plays the lead male role, Don Carlos. Ilsa is also supposed to play a large role but is not allowed to perform after her letter is returned to the school. The play is a success, and
303:
Manuela von
Meinhardis, whose mother had died when she was young and whose father serves in the military, is enrolled at an all-girls boarding school headed by the traditional and iron-fisted Fräulein von Nordeck zur Nidden. Manuela feels out of place in this strict environment. After witnessing
835:
argues that the film fails to fully break away from the authoritarian rule as "in the whole film, there is no hint of the possibility that authoritarian behavior might be superseded by democratic behavior." This, according to
Kracauer, exists in several places from the character of Fräulein Von
677:
Later, an alternate ending which subtly pandered to Nazi ideals enabled continued screening in German cinemas. Eventually even this version of the film was banned as "decadent" by the Nazi regime, which reportedly attempted to burn all of the existing prints. By then, though, several had been
652:
From its premiere at the Capitol cinema in Berlin until 1934, the film is said to have grossed some 6,000,000 ℛ︁ℳ︁. Despite the collective nature of the filming for which cast and crew received only a quarter of the normal wage, none saw a share of the six million
312:
Fräulein von Bernburg is moved. During the afterparty, the girls are served punch containing alcohol. Manuela drunkenly confesses her love for Fräulein von Bernburg and tells everyone about the petticoat. The headmistress overhears and Manuela passes out after her speech.
936:
spoke highly of the film, resulting in the film getting a limited release in the US in 1932–33. Prints of the film survived the war, but it was censored heavily until the 1970s, and it was not shown again in Germany until 1977 when it was screened on television.
917:
The film was released internationally and was very successful. The film had success particularly in Japan, the USA, France, Great Britain, and Mexico. In 1934 the film brought in 6 million Reichsmarks, while the production costs were only 55,000 Reichsmarks.
925:, the Reich Minister of Propaganda. The film was only allowed to be shown abroad. This ban was not so much about the lesbian theme of the film, but rather the depictions of Prussian ruthlessness and the criticisms on authority and discipline.
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The film has had a lasting impact, both for its boldness in depicting lesbian desires and relationships free from censorship but also for its ability to depict the German political landscape of the 1930s despite being set in pre-World War One
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of a lesbian sexuality." While very few analyses question the film's queer messaging, there is a more contentious debate about whether the film is an effective allegory for the 1930s world and the rise of Hitler and the Nazi party.
308:
Bernburg, who says that she cannot give Manuela special treatment. Shortly after, Ilsa von Westhagen, another student, writes a letter to her parents about the conditions of the school and has a worker smuggle it out.
769:. In this remake, the political criticism on the Prussian Center and the love story between the main characters was played down. Manuela comes to see Fräulein von Bernburg as a motherly figure rather than a romantic one.
548:, revolving around the passionate love of a fourteen-year-old (Manuela) for her teacher (von Bernburg); and in its co-operative and profit-sharing financial arrangements (although these failed).
1042:
stated in an essay that accompanied the release of the Criterion edition, that "This film belongs to women who are trying to find themselves—and each other—in spite of repressive structures".
1033:, stating that "it's call for revolutionary empathy is...timeless" a fact amplified by how the film was one of the oldest ones featured in the season. The same year, on November 30, 2021, a
291:, who also funded the film. Winsloe also wrote the screenplay and was on the set during filming. Due to the film's overt and openly lesbian themes, the film remains an international
537:) but this was thought too insipid and changed to increase the chances of box-office success. Although sound had only been used for two years in cinema, it was used artfully.
980:
and Lisa Ohm were critical of the film for being too timid on fascism, many contemporary and present-day thinkers have commended the film for its commentary on such matters.
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at the first inspection committee showing which forbad young people from viewing. On April 8, 1932, the decision for a 2480m shortened version was confirmed.
2302:
1057:"I love you so, but you're always so distant. I can't ever go to your room, or talk to you" ( Manuela discussing her feelings with Fräulein Von Bernburg)
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that is far more timid about the lesbian relationship between Manuela and Fräulein Von Bernburg, opting instead to present it as maternal connection.
1440:
1054:"What you call sin, I call the great spirit of love, which takes a thousand forms." (Spoken by Fräulein Von Bernburg in reference to the boycott.)
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The film was distributed outside Germany and was a huge success in Romania. During a 1980 interview, Thiele said the school play scene caused a "
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and kissing" cult when the film was first shown there. It was also distributed in Japan, the United States, England and France.
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who had done the role on stage in Berlin, but along with having played Manuela in Leipzig, Thiele had played a young lesbian in
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Having mostly played the same roles on stage, the cast was able to produce the film at speed and on a low budget of 55,000
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Stefan Grund (2010-02-28), "Hamburg: Sophie Rois als spätes "Mädchen in Uniform" ", DIE WELT (in German), retrieved 2020-10-29
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1051:"Through discipline and hunger we will become great" (Spoken by the headmistress in reference to disciplining the students)
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The film was groundbreaking in having an all-female cast; in its sympathetic portrayal of lesbian "pedagogical eros" (see
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571:) and although 23 years old when filming began, she was considered to be more capable of portraying a 14-year-old girl.
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709:(1933), which also starred Wieck and Thiele but was banned by the Nazis soon after its opening night along with the
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After many screen tests, Winsloe had insisted that her friend Thiele play the lead role. Director Sagan preferred
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The film had some impact in the Berlin lesbian clubs, but was largely eclipsed by the ongoing cult success of
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with a different cast and a more prominent lesbian theme, which was again toned down somewhat for the film.
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1088:(1990), this is one of the films shown in the small art-house theater frequented by the main characters.
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in 1932 and received the Japanese Kinema Junpo Award for Best Foreign Language Film (Tokyo, 1934).
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and Claire Harden in the lead roles. After Leipzig the play was produced on the stage in Berlin as
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1063:"I fear nothing. Yes! Everybody should know! Long live our beloved Miss von Bernburg!" (Manuela)
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message - and by extension what the movie symbolizes - has been widely debated by critics; with
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1360:"Lesbian Classics in Germany? A Film Historical Analysis of Mädchen in Uniform (1931 and 1958)"
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military orphanage, now a teacher training college for women. Carl Froelich's studio in Berlin-
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in San Francisco. Also in 1978, the film was released in its surviving form by Janus Films on
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Grenze und Halt: Der Einzelne im "Haus der Regeln". Zur deutschsprachigen Internatsliteratur.
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featured the film in a Big Screen Classics season that primarily centered queer films like
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and was directed by Alfredo B. Crevenna. Other films that were inspired by the themes in
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was followed by several German films about intimate relationships among women, such as
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1560:, Vol. 15, no. 6, 1982; and also reprinted with additional material in B. Ruby Rich,
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and Thiele later hinted that the profits had been mostly retained by the producers.
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arranged for a limited re-release in the US in 35mm, including a screening at the
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During the National Socialist rule in Germany, Mädchen in Uniform was banned by
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a "masterpiece" for how it was able to present the contemporary environment.
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1548:. "From Repressive Tolerance to Erotic Liberation: Maedchen in Uniform",
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1204:
2198:
882: in this section. Unsourced material may be challenged and removed.
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615: in this section. Unsourced material may be challenged and removed.
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458: in this section. Unsourced material may be challenged and removed.
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There was another remake made in Mexico in 1950. The film is entitled
1938:
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984:, an English poet and novelist who was a close friend of the writer
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Versions were released in the U.S. (1994) and the UK (2000) by the
1503:
1000:, stating that "there is not a single meal, or club, in the movie
1571:(Johannesburg, South Africa: Witwatersand University Press, 1996)
1562:
Chick Flicks: Theories and Memories of the Feminist Film Movement
1540:
PerVersions: the international journal of gay and lesbian studies
973:
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won the audience referendum for Best Technical Perfection at the
518:
1004:, that Christopher and I could have afforded." and yet heralded
1519:"The Femme Solidarity and Queer Allyship of Mädchen in Uniform"
1160:
Women Film Directors: An International Bio-Critical Dictionary
2248:
486:
Winsloe's stage play had previously appeared under the title
406:
953:
1569:
Lights and Shadows: The Autobiography of Leontine Sagan
800:
Mädchen in Uniform -- Wege aus der Selbstverwirklichung
746:
There is a German remake of the film produced in 1958.
333:
as Mother Fräulein von Nordeck zur Nidden, headmistress
1605:
Synopsis, essay and 1980 interview with Hertha Thiele
525:
was also used. The film's original working title was
1653:
988:, was immensely critical of texts like the musical
847:
1157:
798:was also the inspiration for René Pollesch's play
725:The film is said to have inspired the 1949 novel
2264:
366:as her Excellency von Ehrenhardt, Manuela's aunt
1311:Zimnik, Nina (1999). "No Man, No Cry? The Film
316:Manuela is never to speak to her again.
369:Marte Hein as duchess, protector of the school
1639:
1269:""Maedchen in Uniform", p. 2 by B. Ruby Rich"
1164:. Westport, Conn. : Greenwood Press. p.
1615:Videographic study of the three versions of
1138:List of LGBT-related films directed by women
932:The film was almost banned in the U.S., but
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683:
561:
527:
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295:and enjoys widespread acclaim from critics.
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802:at the German Playhouse in Hamburg (2010).
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1632:
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817:'s intention to make the movie contested.
50:
2303:Films about teacher–student relationships
1564:(Durham, NC: Duke University Press, 1998)
1504:"'Our Mission', The Criterion Collection"
1404:
1315:and Its Discourses of Political Regime".
1298:Timid Heresies in From Caligari to Hitler
898:Learn how and when to remove this message
631:Learn how and when to remove this message
474:Learn how and when to remove this message
1295:
910:On October 1, 1931, a ban was placed on
375:Lisi Scheerbach as Mademoiselle Oeuillet
348:Hedwig Schlichter as Fräulein von Kesten
1438:
412:Ilse Vigdor as Anneliese von Beckendorf
14:
2265:
1310:
1222:
1155:
372:Lene Berdolt as Fräulein von Garschner
260:("Girls in Uniform") is a 1931 German
2353:Films scored by Hanson Milde-Meissner
1627:
1434:
1432:
1357:
1227:. London: Cassell. pp. 138–139.
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405:Annemarie von Rochhausen as Edelgard
320:and down the hall in shaken silence.
1439:Spender, Stephen (30 October 1977).
1291:
1289:
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1195:Heidelberg: Universitätsverlag, 2003
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880:adding citations to reliable sources
851:
613:adding citations to reliable sources
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456:adding citations to reliable sources
427:
1619:with essay about the Mexican remake
1516:
1405:Robertson, Selina (December 2013).
418:Doris Thalmer as Mariechen von Ecke
396:Erika Biebrach as Lilli von Kattner
24:
2343:LGBTQ-related romantic drama films
2308:Films featuring an all-female cast
2189:The Life and Loves of Tschaikovsky
1528:
1429:
1398:
1097:(2006) was reportedly inspired by
339:as Governess Fräulein von Bernburg
27:1931 German film by Leontine Sagan
25:
2364:
1689:The Destiny of Carola van Geldern
1575:
1286:
1258:
1156:Foster, Gwendolyn Audrey (1995).
1123:List of German films of 1919–1932
360:as Fräulein von Atems (or Attems)
2169:The Roundabouts of Handsome Karl
1517:Koe, Amanda Lee (17 June 2021).
856:
848:Censorship and surviving version
589:
432:
1969:The Woman Everyone Loves Is You
1510:
1496:
1466:
867:needs additional citations for
600:needs additional citations for
443:needs additional citations for
415:Barabara Pirk as Mia von Wollin
1351:
1304:
1300:. Princenton University Press.
1249:
1216:
1198:
1185:
1149:
387:Ilse Winter as Marga von Rasso
13:
1:
2293:Films set in boarding schools
2109:The Private Life of Louis XIV
1819:The Adventures of Sybil Brent
1482:BFI Southbank Programme Notes
1143:
517:. It was largely shot at the
423:
287:with artistic direction from
2318:German black-and-white films
2313:Films of the Weimar Republic
1610:Photographs and bibliography
1554:, no. 24/25, March 1981 and
1376:10.1080/10894160.2012.673933
1296:Kracauer, Siegfried (2004).
1108:(2009) by the Austrian band
788:(Lea Pool, Canada 2001) and
378:Margory Bodker as Miss Evans
7:
2333:German romantic drama films
2323:German films based on plays
2283:1930s German-language films
1128:German expressionist cinema
1116:
681:Despite its later banning,
574:
384:as Elise, wardrobe mistress
10:
2369:
2328:German LGBTQ-related films
1542:, issue 6, Winter 1995/96.
1364:Journal of Lesbian Studies
1133:List of LGBT-related films
1073:In Anthony Powell's novel
1011:On February 18, 2021, the
805:Since the film's release,
794:(Katherine Brooks, 2006).
578:
207:27 November 1931
185:Deutsche Film-Gemeinschaft
29:
2288:1930s LGBTQ-related films
2278:1931 romantic drama films
2039:Gitta Discovers Her Heart
1869:When She Starts, Look Out
1699:The Loves of Käthe Keller
1662:
345:as Manuela von Meinhardis
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30:For the 1958 remake, see
2009:Louise, Queen of Prussia
1538:: the story of a film".
1358:Mayer, Veronika (2012).
1317:Women in German Yearbook
1180:Mädchen in Uniform cult.
956:with English subtitles.
1989:Fire in the Opera House
1949:The Night Belongs to Us
1534:Sara Gwenllian Jones. "
1441:"LIFE WASN'T A CABARET"
1223:Darren, Alison (2000).
1046:Quotation from the film
994:, based on Isherwood's
828:From Caligari to Hitler
323:
298:
2149:Such Great Foolishness
1759:The Brothers Karamazov
1739:The Kwannon of Okadera
1679:Ikarus, the Flying Man
1600:British Film Institute
1013:British Film Institute
976:. Whilst critics like
961:British Film Institute
720:Me for You, You for Me
692:
684:
562:
528:
505:
489:
402:as Oda von Oldersleben
270:
254:
2338:Lesbian-related films
2298:Films about educators
2229:Marriage of Affection
2139:If We All Were Angels
2079:Trouble with Jolanthe
1879:The Long Intermission
1719:In Thrall to the Claw
1329:10.1353/wgy.2000.0020
986:Christopher Isherwood
831:, German film critic
775:Muchachas de uniforme
715:I for You, You for Me
700:Eight Girls in a Boat
393:as Ilse von Treischke
354:as Ilse von Westhagen
171:Hanson Milde-Meissner
2239:Three Girls Spinning
1979:Hans in Every Street
1859:Roses from the South
1076:The Acceptance World
1035:Criterion Collection
876:improve this article
807:Mädchen in Uniform's
711:Nazi propaganda film
672:Venice Film Festival
609:improve this article
452:improve this article
2219:The Buchholz Family
2209:Wedding in Barenhof
2179:The Four Companions
2129:When the Cock Crows
2099:I Was Jack Mortimer
2059:The Hymn of Leuthen
2049:Love at First Sight
1899:Love in the Cowshed
1799:The Weather Station
739:(1951) directed by
693:Acht Mädels im Boot
535:Yesterday and Today
391:Charlotte Witthauer
277:Yesterday and Today
161:Oswald Hafenrichter
2348:1930s German films
2019:Mädchen in Uniform
1889:My Aunt, Your Aunt
1749:Island of the Dead
1654:Films directed by
1617:Mädchen in Uniform
1595:Mädchen in Uniform
1583:Mädchen in Uniform
1536:Mädchen in Uniform
1484:. 18 February 2022
1476:Mädchen in Uniform
1445:The New York Times
1425:– via EBSCO.
1225:Lesbian film guide
1206:Mädchen in Uniform
1106:Mädchen in Uniform
1099:Mädchen in Uniform
1068:In popular culture
1024:Brokeback Mountain
1006:Mädchen in Uniform
978:Siegfried Kracauer
912:Mädchen in Uniform
833:Siegfried Kracauer
796:Mädchen in Uniform
785:Lost and Delirious
780:Mädchen in Uniform
749:Mädchen in Uniform
706:Anna and Elizabeth
685:Mädchen in Uniform
668:Mädchen in Uniform
557:Ferdinand Bruckner
515:ℛ︁ℳ︁
498:) in Leipzig with
264:film based on the
255:Mädchen in Uniform
100:by Christa Winsloe
45:Mädchen in Uniform
33:Mädchen in Uniform
18:Madchen in Uniform
2260:
2259:
2089:Sergeant Schwenke
1999:The Night Is Ours
1411:Sight & Sound
1234:978-1-4411-8364-4
997:Goodbye to Berlin
967:Present day views
934:Eleanor Roosevelt
908:
907:
900:
825:In his 1947 book
755:Géza von Radványi
641:
640:
633:
581:Nazism and cinema
529:Gestern und heute
506:Gestern und Heute
484:
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364:Gertrud de Lalsky
271:Gestern und heute
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194:Bild und Ton GmbH
97:Gestern und heute
84:Friedrich Dammann
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865:This section
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842:the 1958 film
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598:This section
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546:homoeroticism
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509:
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501:
500:Hertha Thiele
497:
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441:This section
439:
435:
430:
429:
417:
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409:von Mengsberg
408:
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400:Ethel Reschke
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143:Reimar Kuntze
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122:Hertha Thiele
120:
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109:Carl Froelich
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72:Screenplay by
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1907:
1897:
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1807:
1797:
1789:Hallig Hooge
1787:
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1727:
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1582:
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1561:
1555:
1549:
1546:B. Ruby Rich
1539:
1535:
1512:
1498:
1486:. Retrieved
1481:
1475:
1468:
1456:. Retrieved
1444:
1419:. Retrieved
1414:
1410:
1400:
1367:
1363:
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1297:
1276:. Retrieved
1272:
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1187:
1179:
1159:
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1098:
1092:
1083:
1082:In the film
1074:
1028:
1022:
1016:
1010:
1005:
1001:
995:
989:
970:
958:
950:Roxie Cinema
939:
931:
927:
920:
916:
911:
909:
894:
885:
874:Please help
869:verification
866:
826:
824:
819:B. Ruby Rich
806:
804:
799:
795:
789:
783:
779:
773:
771:
759:Lilli Palmer
757:and starred
748:
745:
734:
726:
724:
719:
713:
704:
703:, 1932) and
698:
690:
682:
680:
676:
667:
666:
659:
651:
644:
642:
627:
618:
607:Please help
602:verification
599:
569:The Creature
568:
560:
550:
539:
534:
526:
512:
503:
495:
487:
485:
470:
461:
450:Please help
445:verification
442:
318:
314:
310:
306:
302:
293:cult classic
276:
268:
252:
251:
250:
223:Running time
200:Release date
96:
56:US VHS cover
39:
32:
2119:The Dreamer
1959:German Wine
1421:21 November
1323:: 161–183.
946:Arthur Krim
942:Janus Films
655:Reichsmarks
563:Die Kreatur
331:Emilia Unda
105:Produced by
62:Directed by
35:(1958 film)
2273:1931 films
2267:Categories
2199:The Gasman
1709:The Dancer
1488:6 November
1458:6 November
1278:9 November
1144:References
1104:The album
929:the film.
579:See also:
424:Production
382:Else Ehser
358:Erika Mann
227:88 minutes
211:1931-11-27
178:Production
1939:Violantha
1453:0362-4331
1345:144709220
1243:605567263
1110:Nachtmahr
1091:The film
940:In 1978,
722:, 1934).
523:Tempelhof
157:Edited by
1551:Jump Cut
1417:(12): 11
1392:10473048
1384:22702382
1337:20688894
1117:See also
575:Reaction
407:Komtesse
242:Language
167:Music by
115:Starring
93:Based on
1839:Tragedy
1598:at the
1038:film."
1018:Maurice
1002:Cabaret
991:Cabaret
974:Prussia
813:'s and
519:Potsdam
232:Country
209: (
180:company
2252:(1951)
2242:(1950)
2232:(1944)
2222:(1944)
2212:(1942)
2202:(1941)
2192:(1939)
2182:(1938)
2172:(1938)
2162:(1938)
2159:Heimat
2152:(1937)
2142:(1936)
2132:(1936)
2122:(1936)
2112:(1935)
2102:(1935)
2092:(1935)
2082:(1934)
2072:(1933)
2062:(1933)
2052:(1932)
2042:(1932)
2032:(1932)
2022:(1931)
2012:(1931)
2002:(1930)
1992:(1930)
1982:(1930)
1972:(1929)
1962:(1929)
1952:(1929)
1942:(1928)
1932:(1928)
1929:Escape
1922:(1928)
1912:(1928)
1902:(1928)
1892:(1927)
1882:(1927)
1872:(1926)
1862:(1926)
1852:(1926)
1842:(1925)
1832:(1925)
1822:(1925)
1812:(1924)
1802:(1923)
1792:(1923)
1782:(1922)
1772:(1922)
1762:(1921)
1752:(1921)
1742:(1921)
1732:(1921)
1722:(1921)
1712:(1919)
1702:(1919)
1692:(1919)
1682:(1918)
1672:(1916)
1585:(1931)
1451:
1390:
1382:
1343:
1335:
1241:
1231:
1208:(1958)
1172:
1027:, and
765:, and
751:(1958)
736:Olivia
727:Olivia
544:) and
245:German
2249:Stips
1909:Lotte
1388:S2CID
1341:S2CID
1333:JSTOR
279:) by
1589:IMDb
1490:2023
1460:2023
1449:ISSN
1423:2022
1380:PMID
1280:2023
1239:OCLC
1229:ISBN
1212:IMDb
1170:ISBN
944:and
782:are
324:Cast
299:Plot
266:play
1587:at
1372:doi
1325:doi
1210:at
1166:322
954:VHS
878:by
729:by
611:by
454:by
2269::
1480:.
1447:.
1443:.
1431:^
1415:23
1413:.
1409:.
1386:.
1378:.
1368:16
1366:.
1362:.
1339:.
1331:.
1321:15
1319:.
1288:^
1271:.
1260:^
1237:.
1178:.
1168:.
1021:,
963:.
761:,
743:.
1647:e
1640:t
1633:v
1521:.
1506:.
1492:.
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