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By Lang, Fritz; McElhaney, Joe

This selection of serious essays deals an unrivalled and up to date review of the prolific and resilient existence 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 complete overview 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 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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Rancho Notorious, addressed by Tom Conley elsewhere in this volume, is another film that does not receive sustained attention from Gunning although, as I have already indicated, the film cannot otherwise be considered a neglected Lang work. Doubtless Lang scholars will return to these and other comparatively marginalized films in the coming years, including those (long unavailable for mainstream access) that precede Der müde Tod. But the question of returns in this section is not simply related to the nature of reception.

These consist of a mobile camera and mobile staging, self-conscious reframings, variations in shot size and scale, and contrasts in body language and posture. ” As such, it also explores the “deadly powers of cinema and the image in a displaced, allegorical, emblematic form. ” In his essay, Martin contrasts the oneiric power of House by the River with the “conventionally naturalistic domestic melodrama” that is Clash by Night (1952). I address the film’s relationship to this type of melodrama, with its roots in certain American literary and theatrical traditions, in particular the work of John Steinbeck and Clifford Odets (the film is based on a play by the latter).

We have in Moonfleet a “deeply aquatic film,” the most extensive treatment of “one of the great rhetorical devices in Lang’s cinema,” that of water. But Losilla sees in this device not simply a motif but a powerful metaphor that lends itself to dialectical questions of time. ” The final period of Lang’s work, beginning with Moonfleet and ending with The Thousand Eyes of Dr. ” These last five films must be taken as a totality in which While the City Sleeps and Beyond a Reasonable Doubt form “a perfect diptych,” just as the two succeeding films, The Tiger of Eschnapur and The Indian Tomb, are literally conceived as such.

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