By Lang, Fritz; McElhaney, Joe
This number of serious essays bargains an unrivalled and up to date evaluate 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 entire evaluation of 1 of cinema’s such a lot influential figures
- Brings jointly key students, together with Tom Gunning and Chris Fujiwara, to percentage their most up-to-date insights
- Features translated contributions from writers infrequently rendered in English resembling 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 info for A Companion to Fritz Lang
I had published two articles on Lang1 that took account of shot figurations and spatial modalities in his films, as well as speed and duration, tying them to a master idea of vision as a fracture, break, interval, gap, which seemed to me to be their varied and singular result. But from these recurring features to the whole of a film, no leap was made. So at the same time, preoccupied with Hitchcock as well, I was Originally published in French as “Pourquoi Lang pourrait devenir préférable à Hitchcock” by Raymond Bellour in TRAFIC 41 (Spring 2002): 163–172.
And Albert Maltz, both one-time members of the Communist Party and both of whom would, a year after the film’s release, be called to testify before the House Un-American Activities Committee, dramatizes the immediate postwar political tensions in the relationship between Cloak and Dagger’s male and female protagonists. Lang was never a member of the Party. But once in America his political sympathies (officially neutral during his German period) became increasingly progressive, and Dibbern notes that the staff at Diana Productions was mainly liberal and female.
For Burch, this period of Lang’s career constitutes “a silence lasting some thirty years” (599). ” Certainly the essays in this book on the American films, and the numerous writings on Lang’s American work elsewhere, testify to the richness of this period on various levels, including those of cinematic form. ” Moreover, the socio-political nature of Lang’s American period is certainly as compelling as that of his German. Kaes situates Lang’s work during this period as belonging to that of a 16 Joe McElhaney cinema of exile, one shared by Lang with other refugees from Nazi Germany.