The first truly interdisciplinary analysis to link Douglas Sirk’s striking visual aesthetic to key movements in twentieth century art and architecture, this book reveals how the exaggerated artifice of Sirk's formal style emerged from his detailed understanding of the artistic debates that raged in 1920s Europe and the post-war United States. By providing an extensive analysis of nine of this director's most pivotal works, including lengthy case studies of Final Chord (1936), Magnificent Obsession (1953), All That Heaven Allows (1954), The Tarnished Angels (1957) and Imitation of Life (1959), ... More

The first truly interdisciplinary analysis to link Douglas Sirk’s striking visual aesthetic to key movements in twentieth century art and architecture, this book reveals how the exaggerated artifice of Sirk's formal style emerged from his detailed understanding of the artistic debates that raged in 1920s Europe and the post-war United States. By providing an extensive analysis of nine of this director's most pivotal works, including lengthy case studies of Final Chord (1936), Magnificent Obsession (1953), All That Heaven Allows (1954), The Tarnished Angels (1957) and Imitation of Life (1959), Victoria L. Evans demonstrates how Sirk attempted to dissolve the boundaries of the cinema by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most well-known films. Treating Sirk’s oeuvre as a continuum between his German and American periods, Evans argues that this influential director's non-naturalistic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and she illuminates the broader cultural context in which his films appeared by establishing connections with archival documents, Modernist manifestos and the philosophical writings of his peers.