By Lang, Fritz; McElhaney, Joe
This number of severe essays bargains an unrivalled and up to date overview of the prolific and resilient existence and imaginative and prescient of 1 of cinema’s maximum auteurs.
- The first edited choice of essays on Fritz Lang’s physique of labor in over thirty years
- A entire review 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 hardly ever rendered in English akin 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 info for A Companion to Fritz Lang
Berlin: Jovis, 2001. Bellour, Raymond. ” Trans. Tom Milne. Jenkins 26–37. Burch, Noël. ” Trans. Tom Milne. Cinema: A Critical Dictionary, Volume Two. Ed. Richard Roud. New York: Viking Press, 1980. 583–599. Chion, Michel. The Voice in Cinema. Ed. and trans. Claudia Gorbman. New York: Columbia UP, 1999. Elsaesser, Thomas. ” Hitchcock Annual 2003–2004. 1–41. Guerin, Frances. A Culture of Light: Cinema and Technology in 1920s Germany. Minneapolis: U of Minnesota P, 2005. Gunning, Tom. The Films of Fritz Lang: Allegories of Vision and Modernity.
Water is also central to our next film, House by the River. In terms of resources, the film marked something of a low point in Lang’s Hollywood career. In the aftermath of the huge financial failure of his own production, Secret Beyond the Door, and the subsequent folding of Diana Productions, Lang found himself working for the low-budget studio Republic Pictures. While not a film that was available for wide circulation for many years, it was, as Adrian Martin notes in his essay “The Limit: House by the River,” the subject of a good deal of critical attention, particularly in France, and Gunning devotes an extended chapter to it in his book.
The choice of his subjects, taking on couples, families, the battle of the sexes; structured around murders and the development of investigations; around an immoderate love for the double, the mental exchange, and the enigma, layered in ways that take the spectator hostage as much as they make him an active accomplice – and marked, from his American period on, by a psychoanalytic tone of which many of his films, after Spellbound, his official initiation into the genre, bear traces – can all make Hitchcock’s cinema seem a dizzying array of motifs modulated according to the most extraordinarily inventive, yet also the most methodical, stagings of stories, scenes, and images.