Greta Garbo (Hungary 1980)

Author: Nemes Károly
Publisher: Magyar Filmtudományi Intézet és Filmarchívum-Múzasák, Budapest
More Info: 99 Pages,
The book was re-released in 1982, 1984, 1985 and 1986

Marlene Dietrich / Greta Garbo  (Japan 1980)

Author: ??
Publisher: ??

Garbo Filmen Vi Aldrig Fick Se (Sweden 1986)

Author: Eugen Semitjov
Publisher: Stockholm, Bokförlaget Fabel

Greta Garbo (Hungary 1986)

Author: Csengery Judit
Publisher: Zenemükiadó Vállalat
More Info: 316 Pages
Orginal book: Greta Garbo, Hungary 1986

Den Gåtfulia Garbo (Sweden 1986)

Author: Anne Taraba
Publisher: Stockholm, Bokförlaget Fabel

The Man Who loved Miss Greta Garbo
- a novel by Alec Ross (USA 1987)

Author: Alec Ross
Publisher: Geneva Book, Carlton Press
Alternative Title: The absolute fascination with Greta & the Films in which she starred
More Info:
The book is about a group of fans of Greta Garbo who try to stop  a TV station show a
shortened and cut by commercials version of Garbo's masterpiece Camille.

The Great Garbo (China 1987)

Author: Robert Payne
Publisher: ?, China
More Info: 183 Pages

Orginal book: The Great Garbo, USA 1976

Greta Garbo (Czechoslovakia 1988)

Author: Boris Jachnin
Publisher: Filmovy Ustav, Prague
More Info: 35 pages

The Man Who Shot Garbo:
The Hollywood Photographs of Clarence Sinclair Bull (USA 1989)

Author: Terrence Pepper and John Kobal
Publisher: Simon & Schuster, New York
More Info: 240 pages

Clarence Sinclair Bull.
Star-Photograph bei MGM (Germany 1989)

Author: Terrence Pepper and John Kobal
Publisher: Schirmer/Mosel, München

Joyless Streets: Women and Melodramatic
Representation in Weimar Germany (USA 1989)

Author: Patrice Petro
Publisher: Princeton Univ Pr

Patrice Petro challenges the conventional assessment of German film history, which sees classical films as responding solely to male anxieties and fears. Exploring the address made to women in melodramatic films and in popular illustrated magazines, she shows how Weimar Germany had a commercially viable female audience, fascinated with looking at images that called traditional representations of gender into question. Interdisciplinary in her approach, Petro interweaves archival research with recent theoretical debates to offer not merely another view of the Weimar cinema but also another way of looking at Weimar film culture. Women's modernity, she suggests, was not the same as men's modernism, and the image of the city street in film and photojournalism reveals how women responded differently from men to the political, economic, and psychic upheaval of their times.