Academy of Motion Picture Arts and
Sciences, 103
Acht Uhr Abendblatt, Berlin, 197,
206n.10
Acting in the Cinema, 81–82
advertising images of Dietrich, 162–
84
African Americans, Dietrich and, 14,
173–75
“Afterthoughts on ‘Visual Pleasure
and the Narrative Cinema’ in-
spired by Duel in the Sun,” 267–68
aging of Dietrich, fascination with,
347–62, 362n.1
Aherne, Brian, 230
Ahmanson Theater, Dietrich’s perfor-
mance at, 25, 27–40
Alberoni, Francesco, 104
Albert, Katharine, 215
All About Eve, 356
Alter, Nora, 15–16, 60-78
American Domesticity, 306
American Frugal Housewife, The, 297,
301, 303
amputation, fetishization of legs and,
69–76, 77n.12
androgynous imagery of Dietrich,
76, 196. See also gender identity
Angel, 195, 222, 228, 234–37
Anna Karenina, 111
Annan, Gabrielle, 321, 327n.2
anti-Semitism, in Vilsmaier’s
Marlene, 339–42. See also Nazi
regime
Applause (film), 50
appropriation: of Dietrich icon, 4; in
Dietrich/von Sternberg relation-
ship, 119, 140n.3
Arcades Project, 17, 291–92, 296, 308
archive of Dietrich’s work: Die-
trich’s involvement in, 362; at Film-
museum Berlin, 382–84
Arendt, Hannah, 7
Arnaz, Desi, 311
Arnaz, Desi, Jr., 314
Arnaz, Lucie, 311, 314
Arnheim, Rudolf, 198
Arnold, Eve, 96
Around the World in 80 Days, 350
Arthur, Jean, 225, 251–53, 258n.17
Astruc, Alexandre, 46
Atwill, Lionel, 230
Baby Face, 230
Bacall: By Herself, 364
Bacall, Lauren, 314, 364, 366
Bach, Steven, 17, 19; on autobiography
by Dietrich, 294–95; on Blue Angel,
139, 140n.3; on Dietrich’s sexual
ambiguity, 250, 257n.2, 258n.18; on
family of Dietrich, 311; on Foreign
Affair, 368; on Gabin and Dietrich,
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