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By Lang, Fritz; McElhaney, Joe

This number of severe essays deals an unrivalled and up to the moment review of the prolific and resilient lifestyles and imaginative and prescient of 1 of cinema’s maximum auteurs.

  • The first edited selection of essays on Fritz Lang’s physique of labor in over thirty years
  • A finished evaluation of 1 of cinema’s so much influential figures
  • Brings jointly key students, together with Tom Gunning and Chris Fujiwara, to proportion their most up-to-date insights
  • Features translated contributions from writers hardly rendered in English comparable to Nicole Brenez and Paolo Berletto
  • Offers multinational and multi-perspectival research of Lang’s oeuvre, together with all his key films

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Extra resources for A Companion to Fritz Lang

Sample text

Using the object-filled decor of the apartment he shared with von Harbou as her starting point, Peucker situates Lang’s fascination with objects within the various discourses, as well as aesthetic movements, on this subject that were central to the first three decades of the twentieth century: early avant-garde cinema and film theory’s preoccupation with the camera’s capacity to magically transform objects; the Expressionist investment in objects indicating visionary states; the sense of contingency to the everyday or modern object central to the New Objectivity; and a broader German Introduction 15 philosophical tradition involving a questioning of the use value of the art object.

A. Dupont’s Variety (1925) were achieving international attention and influence. ) In some films, such as Die Nibelungen, Morgan detects barely any camera movement at all. ” Throughout these films, Morgan notes a recurrence of mobile shots that complicates the standard ways in which we might read such moments as marking clear character subjectivity. In Dr. Mabuse, der Spieler or Metropolis, Morgan isolates what he calls “object-defined” camera movements. ” For example, the sequence in Metropolis in which Rotwang chases Maria through the catacombs involves several spectacular camera movements that would appear to represent Rotwang’s point of view.

While the screenplay for Fury preceded Lang’s involvement in the project, Lang’s contribution to it once he had signed on was significant. ” But Lang also does not abandon the tendency to myth and legend that was central to much of his German work. As the intended murder victim of a violent mob, Joe is transformed into an “avenging God,” adding a “mythological profundity to this American fable,” one whose structure echoes that of Die Nibelungen. In spite of the critical acclaim that Lang received for Fury, the film was not a financial success and his contract with MGM was terminated.

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