European cinema between World Wars I and II was renowned for its remarkable attention to detail and visual effects in set design. Visionary designers such as Vincent Korda and Alfred Junge extended their influence across national film industries in Paris, London, and Berlin, transforming the studio system into one of permeable artistic communities. For the first time, Film Architecture and the Transnational Imagination provides a comparative study of European film set design in the late 1920s and 1930s.  Based on a wealth of drawings, film stills, and archival documents from the period, this volume illuminates the emerging significance of transnational artistic collaboration in light of developments in Britain, France, and Germany.  A comprehensive analysis of the practices, styles, and function of interwar cinematic production design, Film Architecture and the Transnational Imagination offers new insight into the period’s remarkable achievements and influence on subsequent generations.

Tim Bergfelder is professor of film at the University of Southampton, the author of International Adventures, and coeditor of The German Cinema Book and The Titanic in Myth and Memory.

Sarah Street is professor of film at the University of Bristol and the author of British Cinema in Documents, Transatlantic Crossings: British Feature Films in the USA, and Black Narcissus.

Sue Harris is a reader in French cinema at Queen Mary, University of London, the author of Bertrand Blier, and coeditor of France in Focus: Film and National Identity.