DOCSLIB.ORG

Escola De Comunicação, Artes E Design Pós-Graduação Em Comunicação Social Doutorado Em Comunicação Social

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Escola De Comunicação, Artes E Design Pós-Graduação Em Comunicação Social Doutorado Em Comunicação Social ESCOLA DE COMUNICAÇÃO, ARTES E DESIGN PÓS-GRADUAÇÃO EM COMUNICAÇÃO SOCIAL DOUTORADO EM COMUNICAÇÃO SOCIAL JANAINA DOS SANTOS GAMBA SCHÖPFER UND KREATUR: FRITZ LANG E O PERSONAGEM DR. MABUSE PELO OLHAR DA IMPRENSA (1920-1990) PORTO ALEGRE 2019 ESCOLA DE COMUNICAÇÃO, ARTES E DESIGN PÓS-GRADUAÇÃO EM COMUNICAÇÃO SOCIAL DOUTORADO EM COMUNICAÇÃO SOCIAL SCHÖPFER UND KREATUR: FRITZ LANG E O PERSONAGEM DR. MABUSE PELO OLHAR DA IMPRENSA BRASILEIRA (1920 - 1990) JANAINA DOS SANTOS GAMBA Tese apresentada ao Programa de Pós- Graduação em Comunicação Social da Escola de Comunicação, Artes e Design, para a obtenção do título de Doutora em Comunicação Social. Orientador: Prof. Dr. Roberto Tietzmann PORTO ALEGRE 2019 2 3 Nome: Janaina dos Santos Gamba Título: Schöpfer und Kreatur: Fritz Lang e o personagem Dr. Mabuse pelo olhar da imprensa brasileira (1920 - 1990) Tese apresentada ao Programa de Pós-Graduação em Comunicação Social da Escola da Comunicação, Artes e Design da Pontifícia Universidade Católica do Rio Grande do Sul para a obtenção do título de Doutora em Comunicação Social. Aprovado em: __/__/__ Banca examinadora Orientador: Prof. Dr. Roberto Tietzmann Instituição: Pontifícia Universidade Católica do Rio Grande do Sul. Assinatura: ____________________ Prof. Dr. Carlos Gerbase. Instituição: Pontifícia Universidade Católica do Rio Grande do Sul. Julgamento: __________ Assinatura: ___________________ Prof. Dr. Luciano Aronne de Abreu. Instituição: Pontifícia Universidade Católica do Rio Grande do Sul. Julgamento: __________ Assinatura: ___________________ Profª. Drª. Miriam de Souza Rossini. Instituição: Universidade Federal do Rio Grande do Sul. Julgamento: __________ Assinatura: ___________________ Prof. Dr. Vinícius Aurélio Liebel. Instituição: Universidade Federal Fluminense Julgamento: __________ Assinatura: ___________________ 4 Dedicatória Für Oma Eva (in memorian). 5 Agradecimentos Ao meu orientador, Tietz, pela amizade, paciência, companheirismo, “Arte & Educação”, confiança em mim e no meu trabalho, durante todos esses anos. Do alvorecer desta tese, até o momento final. Ao Programa de Pós-Graduação em Comunicação Social da PUCRS, por terem me aceito em mais uma etapa tão importante da minha vida acadêmica. À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) pela concessão da bolsa. Aos meus pais, mana e Vi por terem me proporcionado tudo durante toda a minha vida, pelo amor incondicional, risadas, abraços, piadas, broncas e por me levarem a querer ser uma filha melhor e um ser humano melhor. À Daisy, minha catiora reflexiva, por ser essa doguinha iluminada, que tem paciência com a humana dela. Ao Mitcho, meu gato-sobrinho, por não ter paciência nenhuma e deitar em cima do notebook ou dos livros. Aos melhores amigos e super heróis que alguém poderia ter: Flávia Pasquotto, Jeferson K. Couto, Keila Reis e Mateus Paul. Vocês são a família que eu escolhi ter, fazem com que eu me sinta amada. 6 “Todos os meus filmes alemães e os melhores dos meus americanos lidam com o destino, eu não acredito mais em destino. Todos mundo faz o destino por si mesmo. Você pode aceitar isso, ou pode negar e ir em frente. Não há algo misterioso, nenhum Deus que coloca o destino em você. É você mesmo quem faz o destino”. - Discurso de Lang na ocasião de homenagem recebida pelo Directors Guild, em 1973. “Nós somos psiquiatras; nós somos alemães; nós lemos Nietzsche; nós sabemos que encarar um monstro durante muito tempo é o risco de se tornar um”. - Richard Huelsenbeck, artista dadaísta. 7 Resumo O diretor austríaco Fritz Lang (1890 – 1973) teve uma carreira prolífica que durou mais de 40 anos. Tanto seu trabalho, quanto sua vida, foram amplamente divulgados pela imprensa brasileira, nas mais diversas publicações, desde a década de 1920. O diretor também foi o responsável por levar às telas três filmes de um dos primeiros super vilões da história do cinema, o Dr. Mabuse, obra do escritor luxemburguês Norbert Jacques: Dr Mabuse, o jogador (1922), O testamento do Dr. Mabuse (1933) e Os mil olhos do Dr. Mabuse (1960). A partir da pergunta inicial de pesquisa, “Como se deu a representação do personagem Dr. Mabuse e, também do diretor Fritz Lang pela imprensa brasileira?”, surgiu uma nova questão: “O que levava as publicações a noticiarem tantas informações a respeito do diretor?”. Deste modo, o objetivo principal desta tese é estabelecer a trajetória de Fritz Lang, o responsável por levar pela primeira vez o personagem Dr. Mabuse às telas através do que foi noticiado nas mais diferentes publicações brasileiras, entre as décadas de 1920 e 1990. A tese está dividida em quatro capítulos. No primeiro, traço um paralelo entre as publicações brasileiras sobre a vida e o perfil cinematográfico do diretor, e em como estas publicações são sintomáticas no que dizem respeito à construção de um Star System sobre Lang. O segundo trata da vida do diretor, e em como Lang construiu uma faceta biográfica, uma faceta publicitária e, outra performática politicamente. No terceiro, trago o personagem Dr. Mabuse como literatura e nas três adaptações cinematográficas realizadas por Lang. Finalmente, no último, trago a Metodologia - Hemerografia, baseada em Figueres (2013), e a técnica de análise que guiaram este trabalho - análise de conteúdo baseada em Kientz (1973) e Bardin (1977), bem como os resultados das análises decorrentes da coleta de materiais. Ao final deste trabalho foi possível concluir que Mabuse, no Brasil, nunca foi realmente lido com a profundidade metafórica que seus filmes possuem. Mas as publicações tiveram êxito em ler o personagem como o vilão que ele representa. E, tudo o que era publicado a respeito de Lang e seu trabalho não eram informações necessárias à manutenção da sociedade, contudo, eram notícias agradáveis e de fácil leitura. Eram informações que o público gostaria de ler, por ser consumidor de seus filmes. Palavras-chave: Cinema. Dr. Mabuse. Fritz Lang. Hemerografia. Imprensa brasileira. Personagem. 8 Abstract Austrian director Fritz Lang (1890 - 1973) had a prolific career that lasted more than 40 years. Both his work and his life were widely disseminated by the Brazilian press in the most diverse publications since the 1920s. The director was also responsible for bringing to the screens three films of one of the first super villains in film history, Dr. Mabuse, work of the Luxembourg writer Norbert Jacques: Dr Mabuse, the gambler (1922), The Testament of Dr. Mabuse (1933) and The Thousand Eyes of Dr. Mabuse (1960). From the initial research question, "How did the character Dr. Mabuse and also the director Fritz Lang were represented by the Brazilian press?", a new question arose: "What led the publications to report so much information about the director?". Thus, the main objective of this thesis is to establish the trajectory of the character "Dr. Mabuse ", as well as Fritz Lang, the person responsible for bringing the character to the screen for the first time through what was reported in the most different Brazilian publications between the 1920s and 1990s. The thesis is divided into four chapters. In the first, there is a parallel between the Brazilian publications on the life and the cinematographic profile of the director, and in how these publications are symptomatic in what concerns the construction of a Star System on Lang. The second deals with the life of the director, and in how Lang constructed a biographical facet, an advertising advertising facet, and another politically performative. In the third, I bring the character Dr. Mabuse as literature and in the three cinematographic adaptations made by Lang. Finally, in the latter, I bring the Methodology - Hemerography, based on Figueres (2013), and the technique of analysis that guided this work - content analysis based on Kientz (1973) and Bardin (1977), as well as the results of the analyzes the collection of materials. At the end of this work it was possible to conclude that Mabuse, in Brazil, was never really read with the metaphorical depth that his films have. But the publications have succeeded in reading the character as the villain he represents. And everything that was published about Lang and his work was not information necessary for the maintenance of society, but it was pleasant news and easy to read. They were information the public would like to read, for being a consumer of his films. Key Words: Cinema. Dr. Mabuse. Fritz Lang. Hemerography. Brazilian press. Character. 9 Abstrakt Der österreichische Regisseur Fritz Lang (1890 - 1973) hatte eine über 40- jährige Karriere. Sowohl seine Arbeit als auch sein Leben wurden in den verschiedensten Publikationen seit den 1920er Jahren von der brasilianischen Presse weit verbreitet. Der Regisseur war auch dafür verantwortlich, drei Filme eines der ersten Superschurken der Filmgeschichte, Dr. Mabuse, des luxemburgischen Schriftstellers Norbert Jacques, auf die Leinwand zu bringen: Dr. Mabuse, der Spieler (1922), Das Testament des Dr. Mabuse (1933) und Die tausend Augen des Dr. Mabuse (1960). Aus der Anfangsfrage der Forschung, "Wie war die Darstellung der Figur Dr. Mabuse und auch des Regisseurs Fritz Lang durch die brasilianische Presse?", eine neue Frage ist entstanden: "Was hat die Publikationen dazu gebracht, so viele Informationen über den Regisseur zu berichten?". Das Hauptziel dieser Arbeit ist es daher, die Flugbahn des Charakters "Dr. Mabuse "und auch von Fritz Lang, der Person, die den Charakter zum ersten Mal ins Kino brachte, durch das, was in den unterschiedlichsten brasilianischen Publikationen
Load more

Recommended publications
  • La Construcción Histórica En La Cinematografía Norteamericana
    Tesis doctoral Luis Laborda Oribes La construcción histórica en la cinematografía norteamericana Dirigida por Dr. Javier Antón Pelayo Facultad de Filosofía y Letras Departamento de Historia Moderna Universidad Autónoma de Barcelona 2007 La historia en la cinematografía norteamericana Luis Laborda Oribes Agradecimientos Transcurridos ya casi seis años desde que inicié esta aventura de conocimiento que ha supuesto el programa de doctorado en Humanidades, debo agradecer a todos aquellos que, en tan tortuoso y apasionante camino, me han acompañado con la mirada serena y una palabra de ánimo siempre que la situación la requiriera. En el ámbito estrictamente universitario, di mis primeros pasos hacia el trabajo de investigación que hoy les presento en la Universidad Pompeu Fabra, donde cursé, entre las calles Balmes y Ramon Trias Fargas, la licenciatura en Humanidades. El hado o mi más discreta voluntad quisieron que iniciara los cursos de doctorado en la Universidad Autónoma de Barcelona, donde hoy concluyo felizmente un camino repleto de encuentros. Entre la gente que he encontrado están aquellos que apenas cruzaron un amable saludo conmigo y aquellos otros que hicieron un alto en su camino y conversaron, apaciblemente, con el modesto autor de estas líneas. A todos ellos les agradezco cuanto me ofrecieron y confío en haber podido ofrecerles yo, a mi vez, algo más que hueros e intrascendentes vocablos o, como escribiera el gran bardo inglés, palabras, palabras, palabras,... Entre aquellos que me ayudaron a hacer camino se encuentra en lugar destacado el profesor Javier Antón Pelayo que siempre me atendió y escuchó serenamente mis propuestas, por muy extrañas que resultaran.
    [Show full text]
  • Xx:2 Dr. Mabuse 1933
    January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/.
    [Show full text]
  • Dp-Metropolis-Version-Longue.Pdf
    LE PLUS GRAND FILM DE SCIENCE-FICTION DE TOUS LES TEMPS POUR LA 1ÈRE FOIS DANS SA VERSION INTÉGRALE LE CHEf-d’œuvrE DE FRITZ LANG UN FILM DE FRITZ LANG AVEC BRIGITTE HELM, ALFRED ABEL, GUSTAV FRÖHLICH, RUDOLF KLEIN-ROGGE, HEINRICH GORGE SCÉNARIO THEA VON HARBOU PHOTO KARL FREUND, GÜNTHER RITTAU DÉCORS OTTO HUNTE, ERICH KETTELHUT, KARL VOLLBRECHT MUSIQUE ORIGINALE GOTTFRIED HUPPERTZ PRODUIT PAR ERICH POMMER. UN FILM DE LA FRIEDRICH-WILHELM-MURNAU-STIFTUNG EN COOPÉRATION AVEC ZDF ET ARTE. VENTES INTERNATIONALES TRANSIT FILM. RESTAURATION EFFECTUÉE PAR LA FRIEDRICH-WILHELM-MURNAU-STIFTUNG, WIESBADEN AVEC LA DEUTSCHE KINE MATHEK – MUSEUM FÜR FILM UND FERNSEHEN, BERLIN EN COOPÉRATION AVEC LE MUSEO DEL CINE PABLO C. DUCROS HICKEN, BUENOS AIRES. ÉDITORIAL MARTIN KOERBER, FRANK STROBEL, ANKE WILKENING. RESTAURATION DIGITAle de l’imAGE ALPHA-OMEGA DIGITAL, MÜNCHEN. MUSIQUE INTERPRÉTÉE PAR LE RUNDFUNK-SINFONIEORCHESTER BERLIN. ORCHESTRE CONDUIT PAR FRANK STROBEL. © METROPOLIS, FRITZ LANG, 1927 © FRIEDRICH-WILHELM-MURNAU-STIFTUNG / SCULPTURE DU ROBOT MARIA PAR WALTER SCHULZE-MITTENDORFF © BERTINA SCHULZE-MITTENDORFF MK2 et TRANSIT FILMS présentent LE CHEF-D’œuvre DE FRITZ LANG LE PLUS GRAND FILM DE SCIENCE-FICTION DE TOUS LES TEMPS POUR LA PREMIERE FOIS DANS SA VERSION INTEGRALE Inscrit au registre Mémoire du Monde de l’Unesco 150 minutes (durée d’origine) - format 1.37 - son Dolby SR - noir et blanc - Allemagne - 1927 SORTIE EN SALLES LE 19 OCTOBRE 2011 Distribution Presse MK2 Diffusion Monica Donati et Anne-Charlotte Gilard 55 rue Traversière 55 rue Traversière 75012 Paris 75012 Paris [email protected] [email protected] Tél. : 01 44 67 30 80 Tél.
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • Page 1 of 3 Moma | Press | Releases | 1998 | Gallery Exhibition of Rare
    MoMA | press | Releases | 1998 | Gallery Exhibition of Rare and Original Film Posters at ... Page 1 of 3 GALLERY EXHIBITION OF RARE AND ORIGINAL FILM POSTERS AT THE MUSEUM OF MODERN ART SPOTLIGHTS LEGENDARY GERMAN MOVIE STUDIO Ufa Film Posters, 1918-1943 September 17, 1998-January 5, 1999 The Roy and Niuta Titus Theater 1 Lobby Exhibition Accompanied by Series of Eight Films from Golden Age of German Cinema From the Archives: Some Ufa Weimar Classics September 17-29, 1998 The Roy and Niuta Titus Theater 1 Fifty posters for films produced or distributed by Ufa, Germany's legendary movie studio, will be on display in The Museum of Modern Art's Roy and Niuta Titus Theater 1 Lobby starting September 17, 1998. Running through January 5, 1999, Ufa Film Posters, 1918-1943 will feature rare and original works, many exhibited for the first time in the United States, created to promote films from Germany's golden age of moviemaking. In conjunction with the opening of the gallery exhibition, the Museum will also present From the Archives: Some Ufa Weimar Classics, an eight-film series that includes some of the studio's more celebrated productions, September 17-29, 1998. Ufa (Universumfilm Aktien Gesellschaft), a consortium of film companies, was established in the waning days of World War I by order of the German High Command, but was privatized with the postwar establishment of the Weimar republic in 1918. Pursuing a program of aggressive expansion in Germany and throughout Europe, Ufa quickly became one of the greatest film companies in the world, with a large and spectacularly equipped studio in Babelsberg, just outside Berlin, and with foreign sales that globalized the market for German film.
    [Show full text]
  • Obras En Alemán De Las Bibliotecas Municipales De Alcalá De Henares
    Área de Gobierno de Patrimonio Histórico, Cultura y Turismo Concejalía de Cultura y Universidad, Turismo y Festejos Servicio de Bibliotecas CATÁLOGO DE OBRAS EN ALEMÁN DE LAS BIBLIOTECAS MUNICIPALES DE ALCALÁ DE HENARES ALCALÁ DE HENARES MARZO 2018 C/Plaza San Julián, 1 – 28801 Alcalá de Henares Telf.: 91 877 08 84 E-mail: [email protected] http://www.ayto-alcaladehenares.es Área de Gobierno de Patrimonio Histórico, Cultura y Turismo Concejalía de Cultura y Universidad, Turismo y Festejos Servicio de Bibliotecas ÍNDICE CATÁLOGO ....................................................... 3 ÍNDICE DE AUTORES ................................. 100 ÍNDICE DE TÍTULOS .................................... 102 ÍNDICE DE MATERIAS ................................ 107 CLAVES DE LOCALIZACIÓN DE EJEMPLARES BCD: Biblioteca Pública Municipal Cardenal Cisneros. Depósito BCG: Biblioteca Pública Municipal Cardenal Cisneros. Sala General BCI: Biblioteca Pública Municipal Cardenal Cisneros. Sala Infantil-Juvenil BCM: Centro Municipal de Documentación. Mediateca BEF: Biblioteca Pública Municipal Eulalio Ferrer BMM: Biblioteca Pública Municipal María Moliner BMZ: Biblioteca Pública Municipal María Zambrano BPB: Biblioteca Pública Municipal Pío Baroja BRA: Biblioteca Pública Municipal Rafael Alberti BRC: Biblioteca Pública Municipal Rosa Chacel SG: No disponible C/Plaza San Julián, 1 – 28801 Alcalá de Henares Telf.: 91 877 08 84 E-mail: [email protected] http://www.ayto-alcaladehenares.es Área de Gobierno de Patrimonio Histórico, Cultura y Turismo Concejalía de Cultura y Universidad, Turismo y Festejos Servicio de Bibliotecas 1 ABDERHALDEN, Émil (1877-1950) Vitamine und Vitamintherapie / barbeitet von Emil Abderhalden und Georges Mouriquand. -- Bern : Hans Huber, cop. 1948. -- 408 p. : il. n. ; 23 cm. -- (Handbuch der therapie) Texto en alemán 1. Vitaminas I. Título II. Serie 615.356 BCD DEP 6617 A 2 ALONSO, Dámaso (1898-1990) Voz del árbol / Dámaso Alonso ; [traducción al inglés por Jane M.
    [Show full text]
  • The Broken Ideals of Love and Family in Film Noir
    1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs.
    [Show full text]
  • Fritz Lang © 2008 AGI-Information Management Consultants May Be Used for Personal Purporses Only Or by Reihe Filmlibraries 7 Associated to Dandelon.Com Network
    Fritz Lang © 2008 AGI-Information Management Consultants May be used for personal purporses only or by Reihe Filmlibraries 7 associated to dandelon.com network. Mit Beiträgen von Frieda Grafe Enno Patalas Hans Helmut Prinzler Peter Syr (Fotos) Carl Hanser Verlag Inhalt Für Fritz Lang Einen Platz, kein Denkmal Von Frieda Grafe 7 Kommentierte Filmografie Von Enno Patalas 83 Halbblut 83 Der Herr der Liebe 83 Der goldene See. (Die Spinnen, Teil 1) 83 Harakiri 84 Das Brillantenschiff. (Die Spinnen, Teil 2) 84 Das wandernde Bild 86 Kämpfende Herzen (Die Vier um die Frau) 86 Der müde Tod 87 Dr. Mabuse, der Spieler 88 Die Nibelungen 91 Metropolis 94 Spione 96 Frau im Mond 98 M 100 Das Testament des Dr. Mabuse 102 Liliom 104 Fury 105 You Only Live Once. Gehetzt 106 You and Me [Du und ich] 108 The Return of Frank James. Rache für Jesse James 110 Western Union. Überfall der Ogalalla 111 Man Hunt. Menschenjagd 112 Hangmen Also Die. Auch Henker sterben 113 Ministry of Fear. Ministerium der Angst 115 The Woman in the Window. Gefährliche Begegnung 117 Scarlet Street. Straße der Versuchung 118 Cloak and Dagger. Im Geheimdienst 120 Secret Beyond the Door. Geheimnis hinter der Tür 121 House by the River [Haus am Fluß] 123 American Guerrilla in the Philippines. Der Held von Mindanao 124 Rancho Notorious. Engel der Gejagten 125 Clash by Night. Vor dem neuen Tag 126 The Blue Gardenia. Gardenia - Eine Frau will vergessen 128 The Big Heat. Heißes Eisen 130 Human Desire. Lebensgier 133 Moonfleet. Das Schloß im Schatten 134 While the City Sleeps.
    [Show full text]
  • Case Study: Fritz Lang and Scarlet Street*
    Studia Filmoznawcze 31 Wroc³aw 2010 Barry Keith Grant Brock University (Canada) CASE STUDY: FRITZ LANG AND SCARLET STREET* Fritz Lang’s work in film spans the silent era almost from its beginnings through the golden era of German Expressionism in the 1920s and the classic studio sys- tem in Hollywood to the rise of the international co-production. In the course of his career Lang directed more acknowledged classics of the German silent cinema than any other director, made the first important German sound film (M, 1932), and dir ected some of the most important crime films and film noirs of the American studio era, including You Only Live Once (1937), The Big Heat (1953), and Scarlet Street (1945). Critics have commonly divided Lang’s extensive filmography into two major periods, the silent German films and the American studio movies. In the former he had considerable artistic freedom, while in Hollywood he worked against the greater constraints of the studio system and B-picture budgets; yet the thematic and stylistic consistency in Lang’s work across decades, countries, and different production contexts is truly remarkable. Consistently Lang’s films depict an entrapping, claustrophobic, deterministic world in which the characters are controlled by larger forces and internal desires beyond their understanding. In this cruelly indifferent world, people struggle vainly against fate and their own repressed inclinations toward violence. As in Hitchcock’s films, Lang’s often deal with the violent potential lurking within the respectable citizen and suggest that social order requires controlling the beast within. M (1932), Lang’s first sound film, is about a serial child killer (Peter Lorre) who explains to the kangaroo court of criminals about to execute him that he is possessed by a murder- * The text is taken, with the agreement of its author, from his book Film Genre: From Iconog- raphy to Ideology, London 2007, pp.
    [Show full text]
  • Cronin Ing:Maquetación 3.Qxd
    Alberto Enrique D’Ottavio Cattani J Med Mov 5 (2009): 59-65 JMM Archibald Joseph Cronin: a Writing-Doctor Between Literature and Film Alberto Enrique D’Ottavio Cattani1,2 1Cátedra de Histología y Embriología. Facultad de Ciencias Médicas. 2Consejo de Investigaciones de la Universidad Nacional de Rosario (Argentina). Correspondence: Alberto Enrique D’Ottavio Cattani, Matheu 371. 2000 Rosario, Santa Fe (Argentina). e-mail: [email protected] Received 1 October 2008; modified 18 March 2009; accepted 19 March 2009 Summary This paper broaches the subject of the life and numerous cinematographic and TV adaptations of the vast and controversial liter- ary work of Scottish doctor Archibald Joseph Cronin (1896-1981). Through it, we intend to stress the influence his books and/or the films based on them had on many young generations who, under their shelter, chose a career in medicine. Prize-winning writer and PhD, in his works -formally adorned with his great talent for description and observation- he intermingles naturalism, conflicting passions, medical situations and social criticism. Beyond all discussion about his literary career and his repercussion on film, his influence on those who embraced Medicine following in the steps of his characters, many of whom were nothing more than a reflection of himself, is unquestionable. Keywords: Cronin, Doctor, Writer, Film, Literature. To AJ Cronin, whose works strengthened my decision to become a doctor 19 July, 1896. An only child, his mother was Jessie Montgomerie and his father Patrick Cronin. In an Life and work of Archibald Joseph Cronin apparently paradoxical way, following the death of his father, who professed Catholicism, Archibald was The writer-doctors whose works have been raised as a Catholic by his Protestant mother.
    [Show full text]
  • Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]