Chapter 1 Table of Contents
Chapter 2 Dedication
Chapter 3 Introduction
Part 4 I: Texts and Contexts
Chapter 5 1. Edgar G. Ulmer: The Low-End Independent FilmmakerPar Excellence
Chapter 6 2. Edgar G. Ulmer: The Godfather of Sexploitation?
Chapter 7 3. At the Border: Edgar G. Ulmer's The Singing Blacksmith (1938) and Cossacks in Exile (1939)
Part 9 II: Film Noir
Chapter 10 4. Dead Fathers and Other Detours: Ulmer's Noir
Chapter 11 5. See Spot: The Parametric Film Noirs of Edgar G. Ulmer
Chapter 12 6. Even the Pictures Lie: The Unreliable Narrator in the Film Noirs of Edgar G. Ulmer
Chapter 13 7. Edgar G. Ulmer's Homicidal Noirs: Psychosis and Possession in Strange Illusion, The Strange Woman, and Bluebeard
Chapter 14 8. All Wrong Turns: Tracking Subjectivity in Detour (1945)
Chapter 15 9. Masculinity and Masochism in Detour (1945)
Part 16 III: Individual Films
Chapter 17 10. Puppets and Painting: Authorship and Artistry in Edgar G. Ulmer's Bluebeard
Chapter 18 11. Beyond Citizen Kane: Ruthless as Radical Psychobiography
Chapter 19 12. "The Gateway to America": Assimilation and Art in Carnegie Hall (1947)
Chapter 20 13. Meeting The Man From Planet X (1951)
Chapter 21 14. Nothing to Hyde: Reading The Daughter of Dr. Jekyll (1957)
Chapter 22 15. Murder, Family, and Weird Science:The Amazing Transparent Man
Chapter 23 16. "A Sword and Sandal Gone Screwy" or, Edgar G. Ulmer's Journey to the Lost City-L'Atlantide
Part 24 IV: Case Study-The Black Cat (1934)
Chapter 25 17. Bauhaus of Horrors: Edgar G. Ulmer and The Black Cat
Chapter 26 18 The Devil's Contract: The Satisfaction of Self-Destruction in Edgar G. Ulmer's The Black Cat
Chapter 27 19 "Tremonstrous" Hopes and "Oke" Results: The 1934 Reception of The Black Cat