List of contributors; Chronology; Filmography; Introduction, Erica Tortolani and Martin F. Norden; Exploding the Cosmopolitan and Treating the Foreigners’ Foreignness: Paul Leni’s The Diary of Dr. Hart, Jaimey Fisher; The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs, Jason Doerre; Cinema Panopticum: Wax, Work, Waxworks, Erik Born; The Proto-Horror-Comedy: Waxworks, Joel Westerdale; Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles, Erica Tortolani; Bravura Beginnings: Leni and the Art of the Prologue, Martin F. Norden; Paul Leni’s The Cat and the Canary: Adaptation into Genre, Rebecca M. Gordon; Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the Canary, Simone Natale; Misfitting in America: Paul Leni, Conrad Veidt, and The Man Who Laughs, Gábor Gergely; Masculinity and Facial Disfigurement in The Man Who Laughs, Bruce Henderson; Cinematic Space and Set Design in Paul Leni’s The Last Warning, Bastian Heinsohn; The Last Warning: Uncertainty, Exploitation, and Horror, Shawn Shimpach