By Lang, Fritz; McElhaney, Joe
This selection of serious essays bargains an unrivalled and up to the moment 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 finished review 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 resembling 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 resources for A Companion to Fritz Lang
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.
And he does so through a film that he himself had earlier consigned to the status of a minor work, Woman in the Moon (1929), Lang’s final silent film. At the time of the writing of his Lang book, Gunning only had access to the shortened American version. But Woman in the Moon (as with so many Lang films in recent years) has undergone a restoration, in this instance with nearly an hour of additional footage recovered from its original German release. Gunning continues (as do most critics) to find the film’s human drama of minor interest, even in the longer version.
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. ” Moreover, the socio-political nature of Lang’s American period is certainly as compelling as that of his German.
A Companion to Fritz Lang by Lang, Fritz; McElhaney, Joe