By Lang, Fritz; McElhaney, Joe
This selection 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 choice of essays on Fritz Lang’s physique of labor in over thirty years
- A accomplished overview of 1 of cinema’s so much influential figures
- Brings jointly key students, together with Tom Gunning and Chris Fujiwara, to percentage their newest insights
- Features translated contributions from writers not often 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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Additional resources for A Companion to Fritz Lang
It also has to do with the ways in which some of these films enact and sometimes narrativize the very act of returning to something: a location, an image, a thematic. The first essay in this section, Lutz Koepnick’s “Not the End: Fritz Lang’s War,” opens with a discussion of what is undoubtedly the most neglected of Lang’s American films, American Guerrilla in the Philippines (1950), a film Lang himself declared to be a project he accepted strictly for the financial compensation. Koepnick does not attempt to make a traditional case for the film, defending it in any strenuous terms.
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. London: BFI Publishing, 2000. Jenkins, Stephen, ed. Fritz Lang: The Image and the Look. London: BFI Publishing, 1981. Kaplan, E. Ann. Fritz Lang: A Guide to References and Resources. Boston: G. K. Hall, 1981. McGilligan, Patrick. Fritz Lang: The Nature of the Beast. New York: St.
In spite of the enormous influence, described by Olga Solovieva in her essay here, that the writings of Noël Burch have had on Lang criticism, Burch himself was notoriously hostile to Lang’s American work. “I shall not waste time,” he writes, “demonstrating how and why M is not merely superior to Fury but belongs to an altogether different dimension” (584). 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.
A Companion to Fritz Lang by Lang, Fritz; McElhaney, Joe