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By Lang, Fritz; McElhaney, Joe

This number of severe essays deals an unrivalled and up to the moment 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 entire 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 hardly ever 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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Lang’s war films show little interest in the question of legitimate violence and are notably lacking in conventional patriotic inspiration. ” And Hangmen Also Die! ” Jakob Isak Nielsen pays sustained attention to another wartime film, mentioned mainly in passing by Koepnick. “Classic(al) Lang: Conflicting Impulses in Ministry of Fear” is, as its title implies, an essay that addresses the complex relationship that this film has to classical norms of cinema. Lang’s relationship to these norms was uneasy throughout his Hollywood career.

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.

Human Desire is adapted from Zola’s La Bête humaine (1890), but transposed to America and (like several important Zola film adaptations) contemporary in setting. Unlike Clash by Night, for which he had a high regard, Lang mainly expressed disappointment over Human Desire, principally due to what he felt was his betrayal not only of Zola’s novel but also of Jean Renoir’s film adaptation of the same material, La Bête humaine (1938). But for IshiiGonzales, Human Desire is “one of the best of Lang’s late Hollywood works,” the film’s ostensible flaws (or its deviations from Zola) having their basis in Renoir’s film, to which Lang’s version is much closer than it is to Zola.

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