By Lang, Fritz; McElhaney, Joe
This choice of severe essays deals an unrivalled and up to the moment evaluation 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 finished evaluation 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 up-to-date insights
- Features translated contributions from writers not often rendered in English corresponding 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
K. Hall, 1981. McGilligan, Patrick. Fritz Lang: The Nature of the Beast. New York: St. Martin’s, 1997. Truffaut, François, with the collaboration of Helen G. Scott. Hitchcock. Rev. ed. New York: Simon and Schuster, 1984. Part one Looking, Power, Interpretation 2 Why Lang Could Become Preferable to Hitchcock Raymond Bellour Translated by David Phelps For a long time I was hesitant. I’m hesitant still, though less and less so. Indeed, today it seems possible to think that, according to a certain view of cinema, Fritz Lang would be, not superior, but preferable, perhaps, to Alfred Hitchcock.
A single word again approaches what Peucker calls “the status of things” but in an entirely different context. For Kaes, such an error is one to which exiles, attempting to learn a new language, would particularly respond. Fury is not only Lang’s first American film, made as part of a newly signed contract with Metro-GoldwynMayer, it is set in America as well. 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.
Notes 1 For a detailed bibliographical reference to the literature on Lang up through the late seventies, see Kaplan. 2 Hitchcock’s follow-up to The Man Who Knew Too Much, The 39 Steps (1935), would seem to owe an even more significant debt to Lang, specifically to Spies. As in Spies, the trajectory of a bullet is stopped through a book (in The 39 Steps, though, the book is a Bible) and the narrative resolution occurs in the midst of a music hall performance. Nevertheless, as Paul Dobryden notes elsewhere in this volume, Spies self-consciously draws upon English spy narrative traditions as part of its “international” ambitions.