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The complete silent films of German cinema's supreme stylist. A twelve-disc collection including Metropolis (1927), Die Nibelungen (1924), Spies (1928), Dr. Mabuse the Gambler (1922), Destiny (1921), The Spiders (1919), Woman in the Moon (1929), Four Around the Woman (1921), Harakiri (1919), The Wandering Shadow (1920), The Plague of Florence (1919).

Fritz Lang's classic 1927 film Metropolis has justifiably become an icon for the complexities of Weimar culture. Among the important general issues it also raises are the relation between ideology and art, the status and authorship of the film text in the entertainment market, the city, the construction of gender, the relation between the human body and the machine in modernity, and the relation between mass and high culture. This volume provides a broad range of materials and resources for the study of Lang's film, including both well-known, previously published critical essays and contributions appearing for the first time here. The editors provide a two-part introduction that furnishes context for what follows: Bachmann's part deals with the genesis, production, and contemporary reception of the film, while Minden's defines the problems posed by the text and reviews thesolutions to these problems as proposed by later generations of critics.The first part of the book proper includes selected contemporaryreviews, commentary by Fritz Lang and others involved in the making ofthe film, and extracts from Thea von Harbou's original novel. In the second part, eight modern scholars provide fresh essays on the genesis, promotion, and reception of the film. Approximately half of the material in the volume has never before appeared in print. The volume will appealto students of German, film, cultural and intellectual history, and social theory. Michael Minden is University Lecturer in German at Cambridge University and a fellow of Jesus College. Holger Bachmann received his Ph.D. from Cambridge on Arthur Schnitzler and film.

Bitte Beachten: Höhere Versandkosten Ausserhalb Deutschland - Please Note: Higher Shipping Charge Outside Germany - Ask Before Order. Broschur, 143 Seiten, Mit Zahlreichen Abbildungen. 26 X 28 Cm. Vorderer Deckel Mit Druckstelle. Couverture Souple, 143 Pages, Avec de Nombreuses Illustrations. 26 X 28 Cm. Couvercle Avant Avec Repère de Pression. Gewicht: 999

HARAKIRI (aka Madame Butterfly) (1919): O-Take-San (Lil Dagover) is a beautiful young woman pursued by an evil Buddhist monk (Georg John) who wants to make her one of his many geishas. She has an affair with the Danish officer Niels Prien (Olaf J. Anderson) who leaves her alone and pregnant. O-Take-San considers ritualistic suicide when she is abandoned in this tragic melodrama directed by Fritz Lang (Metropolis). THE WANDERING SHADOW (aka the Moving Image or the Wandering Image) (1920): After t

in-4, cartonnage illustré, 234 pp., nombreuses photos en noir. Basé sur les documents de travail de The Big Heat (Règlement de comptes) déposés par Fritz Lang à la Cinémathèque Française, ce livre d'enquête et d'analyse revisite la notion d'auteur de film et la nature des relations entre scénarisation et mise en scène dans le cinéma hollywoodien des années 1950. Très bon état. Exemplaire provenant de la bibliothèque d'Alain Resnais.

504 S. Umschlag an den Rändern minimal berieben/bestossen. Innenteil tadellos - u n g e l e s e n - keine Risse, Knicke, Anmerkungen. ! Altersbedingt minimal nachgedunkelt! KEIN Mängelexemplar! Versand aus München als Paket FF0351 Sprache: Französisch Gewicht in Gramm: 2140

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

In shrink wrap. Looks like an interesting title!

This study examines the early work of Fritz Lang, proposing readings of the entire output of one of cinema's foremost directors. It emphasizes Lang's reflection on modernity, and hones in on the problem of identity and subjectivity in a progressively more automated, impersonal world.

A brief biography of the noted film director is combined with summaries, commentaries, still photographs, and contemporary reviews of each of his movies to provide a picture of the man and his art

Fritz Lang, almost alone among his fellow continental refugees, was able to make outstanding films in both his native Germany and his adopted Hollywood. The director of Metropolis and M and Dr. Mabuse came to America in 1934 and began a long and distinguished career that included such films as You Only Live Once, The Woman in the Window, Scarlet Street, Ministry of Fear, Rancho Notorious, and The Big Heat. He is a key figure in the history of film noir, bringing to the screen a fatalist's vision of a menacing world of criminals, misfits, and helpless victims, and providing a distinctive visual look to every film he directed. This film-by-film study of Lang's oeuvre by one of the great film historians combines personal insight—Eisner and Lang had a long standing friendship—with deep historical understanding of Lang's roots in German culture and cinema. Both true modernists, Eisner and Lang are perfectly matched, as this book clearly demonstrates.

This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycle Der Ring des Nibelungen and Fritz Lang's 1920s film Die Nibelungen creatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role. Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 film The Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner's Ring and Lang's Die Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.

Behind every great suspense thriller lurks the shadow of M. In Fritz Lang's first sound film from 1931, Peter Lorre delivers a haunting performance as a serial killer--a whistling pedophile hunted by the police and brought to trial by the forces of the Berlin underworld.In 1990, a young painter, Jon J Muth, continued his rise in the comic book industry by adapting the story of M into a four-issue comic book miniseries. Muth's photorealistic illustrations paved the way for the acceptance of painted comics, influencing a generation of artists who followed him.Long out of print, these four issues are collected together for the first time as a hardcover graphic novel.

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 0.51

Incorporating more than 25 minutes of newly discovered footage, this 2010 restoration of METROPOLIS is the definitive edition of Fritz Lang's science fiction masterpiece. Backed by a new recording of Gottfried Huppertz's 1927 score, the film's dazzling visual design and special effects are more striking than ever. And the integration of scenes and subplots long considered lost endows METROPOLIS with even greater tension and emotional resonance, as it dramatizes the conflict between wealthy uber-

Im Mittelpunkt der Betrachtungen uber Fritz Langs Film 'Metropolis' steht zunachst die Verwendung von Modellbauten im Rahmen des Schufftan-Verfahrens, aus deren Analyse hier die Grundzuge zu einer Theorie des Architekturmodells entwickelt werden. 'Metropolis' von Fritz Lang ist nicht nur ein Meilenstein der Filmgeschichte, sondern auch ein von Kunst- und Architekturhistorikern anerkanntes Schlusselwerk fur die Rezeption der Entwicklung der modernen Grossstadt in den Zwanziger Jahren des vergangenen Jahrhunderts. Mit dieser Arbeit liegt zum ersten Mal eine Analyse der Kulissen dieses Films vor, die sich nicht auf die literarische oder rein filmische Dimension beschrankt, sondern - soweit es die Quellenlage erlaubt - von den angewandten Trickverfahren ausgeht und von dort aus zu einer Rekonstruktion der tatsachlich vor der Kamera vorhandenen Objekte vordringt. Im Mittelpunkt der Betrachtungen steht zunachst die Verwendung von Modellbauten im Rahmen des 'Schufftan-Verfahrens', aus deren Analyse hier die Grundzuge zu einer Theorie des Architekturmodells entwickelt werden. Da das Architekturmodell bislang vergleichsweise wenig Beachtung in der Kunstwissenschaft fand, ist dieser Teil der Untersuchung als grundlegender Beitrag zur Schliessung einer Lucke anzusehen. Auf diesen Beobachtungen aufbauend gelingt es, zum Problem des Mimetischen in der Architektur vorzudringen und eine neue Facette der formalen Prinzipien der modernen Architektur des Zwanzigsten Jahrhunderts aufzuzeigen.

In the literature of Science Fiction, there is no more an underappreciated and ignored piece of writing than Thea Von Harbou’s magnificent Metropolis. The book, a novelization of the screenplay the author wrote for her husband Fritz Lang’s film masterpiece of the same name, was a clever marketing move since the sales of one would drive the sales of the other. Yet the two existed as independent works of art. That proved true only too briefly. Something happened soon after the film premiered. The film studio made drastic and clumsy cuts that made the plot impossible to follow. Censors, exhibitors, and distributors further slashed the film to under 90 minutes from its original length of 153 minutes. Consequently, the film’s reputation for unprecedented spectacle and imagination was forged by its transcendent and timeless visual beauty. And Van Harbou’s novel was largely dismissed as an informational bridge between the film’s original storyline and the multiple butchered versions.Unfortunately, that has been the way the book has been shelved for most of its publishing history. But the book has a life and a shelf of its own. If the film had never come to be made, this book would still offer a fascinating and emotionally powerful reading experience. We see the stark thematic contrasts between light and dark, God and Satan, the saintly Maria and the demonic Rotwang, the conflicts between starry dreams and manual labor, between steamy pump rooms and airplanes ferrying through bright high rise avenues. We also see romantic love and its mechanical counterfeits, a fictional aspect of the novel that has become eerily true in the age of technosexual robots.The novel has always stood on its own as a work of art, a work of romantic notions and hard experience, exploring the limits of thinking or clubbing our way out of life’s most horrific challenges. The novel offers a possible resolution: The mediator between brain and muscle must be the Heart. Words that ring eternally true.

The film that Fritz Lang made in the Babelsberg studios near Berlin in 1925 includes one of the first 20th-century city fantasies.

Fritz Lang''s classic science fiction film Me tropolis is brought to comics in riveting, fully-painted ima ges in Superman''s Metropolis. '

Metropolis is a monumental work. On its release in 1925, after sixteen months'filming, it was Germany's most expensive feature film, a canvas for directorFritz Lang's increasingly extravagant ambitions. Lang, inspired by the skyline ofNew York, created a whole new vision of cities. One of the greatest works ofscience fiction, the film also tells human stories about love and family.Thomas Elsaesser explores the cultural phenomenon of Metropolis: its differentversions (there is no definitive one), its changing meanings, and its role as adatabase of twentieth-century imagery and ideologies.In his foreword to this special edition, published to celebrate the 20thanniversary of the BFI Film Classics series, Elsaesser discusses the impact ofthe 27 minutes of 'lost' footage discovered in Buenos Aires in 2008, andincorporated in a restored edition, which premiered in 2010.