By Lang, Fritz; McElhaney, Joe
This number of serious essays deals an unrivalled and up to date overview 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 accomplished evaluation of 1 of cinema’s so much influential figures
- Brings jointly key students, together with Tom Gunning and Chris Fujiwara, to percentage their most recent insights
- Features translated contributions from writers not often rendered in English similar 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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Additional resources for A Companion to Fritz Lang
2 Hitchcock’s follow-up to The Man Who Knew Too Much, The 39 Steps (1935), would seem to owe an even more significant debt to Lang, specifically to Spies. As in Spies, the trajectory of a bullet is stopped through a book (in The 39 Steps, though, the book is a Bible) and the narrative resolution occurs in the midst of a music hall performance. Nevertheless, as Paul Dobryden notes elsewhere in this volume, Spies self-consciously draws upon English spy narrative traditions as part of its “international” ambitions.
A hollow core. The first sentence of Raymond Bellour’s 1966 essay on Lang is: “Enmeshed in paradox, Fritz Lang’s destiny is an astonishing one” (27). It may very well be that the ongoing fascination with Lang’s cinema is that, through its paradoxes, its apparent formal and ethical contradictions, the capacity for images and sounds to enchant, deceive, and destroy is laid bare before us, with a remarkable and brutal precision. Notes 1 For a detailed bibliographical reference to the literature on Lang up through the late seventies, see Kaplan.
Published 2015 by John Wiley & Sons, Inc. 2 What happened? Simply this. Just as Eisenstein, first fragmenting his films to the extreme through a design that was as much formal as ideological, and further being the first to offer commentaries on them, was able to grant himself control of their analyses from the outset, similarly, through his methods of fragmentation, unique in a cinema meant from its inception for the general public and which would contribute so powerfully to his relative independence in the studio system,3 Hitchcock facilitated the work of analysis in analogous ways, if only by distinguishing the units (the shots) fit to be developed by analysis.
A Companion to Fritz Lang by Lang, Fritz; McElhaney, Joe