By Lang, Fritz; McElhaney, Joe
This number of severe essays deals 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 number of essays on Fritz Lang’s physique of labor in over thirty years
- A accomplished overview of 1 of cinema’s such a lot influential figures
- Brings jointly key students, together with Tom Gunning and Chris Fujiwara, to proportion their most recent 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
Introduction 23 This “irregular clockwork” is in accordance with a surrealist impulse at work here, in which the relationship between fantasy (or dream) and reality is frequently ambiguous at both the level of an often illogical narrative and inconsistent characterizations and in terms of motifs and incongruous objects. For Nielsen, Ministry of Fear is arguably more influenced by surrealism than any other Lang film, even as the dialogue in the later stages attempts to rationally explain some (but not all) of the dreamlike narrative events previously witnessed.
Gunning continues (as do most critics) to find the film’s human drama of minor interest, even in the longer version. ” This essay, though, is also a collaboration between Gunning and Katharina Loew, the authors alternating sections of an essay that is, appropriately enough given the massive scale of so many of Lang’s German silent films, a kind of magnum opus itself. Both authors work on an enormous scale, drawing upon material as wide-ranging as Thomas Pynchon, Jules Verne, Georges Méliès, Walter Benjamin, Johann Wolfgang van Goethe, and Hermann Oberth, with Loew’s sections primarily focusing on issues of production, reception, and historical and cultural context, Gunning’s on close textual analysis.
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. ” Whereas Phil Wagner approaches Fury as a displaced western, Kaes situates it in relation to more immediate historical and cultural circumstances: Depression America when economic instability and overt expressions of racism were common and in which lynchings were a dominant feature of the social landscape. ” While the screenplay for Fury preceded Lang’s involvement in the project, Lang’s contribution to it once he had signed on was significant.
A Companion to Fritz Lang by Lang, Fritz; McElhaney, Joe