Acknowledgements
Introduction – From Sjöström to Seastrom
Sjöström – From National to International
Lyrical Intimacy as Authorial Style
National or International in Public Debate
American Voices on Sjöström
A European in Hollywood – “Name the Man” and the Shift of Production Systems
Production Cultures
Contaminating Hollywood
Stylistic Variations
From Scientist to Clown – “He Who Gets Slapped”
Sjöström as Hollywood Scriptwriter
Traces of the Narrator
The Symbolic Clown
Transformed Identities
The Question of Whitefacing
He, the Clown
A for Adultery – “The Scarlet Letter”
Hester Prynne and the Spectacle
An Aesthetics of Light
Stylistic Devices
Conquering Nature – “The Wind”
Landscape of the Origins
Framing the Wind
Shattering the Frame
From Physical Space to Mental Space
The Final Crossover
Fragmented Pieces – Writing the History of the Lost Hollywood Films
Authorial Imprints: “Confessions of a Queen”
Lagerlöf in Hollywood: “The Tower of Lies”
“The Divine Woman” – From Bernhardt to Garbo
A Strange Interlude: “The Masks of the Devil”
The Shadow of the Silents – “A Lady to Love”
One Film, Two Versions
The Transition to Sound
The Transition from Silents
Europeans in Hollywood
The Genius and the System – Some Concluding Remarks
Notes
Bibliography
Filmography
Index