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EINE AUSSTELLUNG DER UNIVERSITATS- UND STADTBIBLIOTHEK KOLN IN KOOPERATION MIT: DEUTSCHE KINEMATHEK - MUSEUM FUR FILM UND FERNSEHEN:„THE COMPLETE METROPOLIS &FRIEDRICH-WILHELM-MURNAU-STIFTUNG • EINLEITUNG IfflWIifCTIM Vorwort Foreword Der Film METROPOLIS METROPOLIS: The fi, v THE COMPLETE METROPOLIS 0© The Complete METROPOLIS The Complete /1ETROPOLIS Synopsis Synopsis Die Stadt der Sohne The City of Sons Die Maschinenrtiume und die Arbeiterstadt 'he Machine Rooms and the Worki s' City Die Oberstadt The Upper City Die Katakomben The Catacombs Rotwangs Haus Rotwang's House Der Dom The Cathedral Ein spektakularer Fund in Buenos Aires A sf. ectacuhr find in Buenos Aires DAS DREHBUCH Ml HW3 SMPI ©3 Das METROPOLIS Drehbuch The METROPC US film script Auszuge aus dem Drehbuch Excerpts from / le script DIE FILMMUSIK Ml M2 1HBE @§ Musik fur METROPOLIS Music for METROPC >i/S Auszuge aus den Noten Excerpts from the s leet mi sic Biografie Gottfried Huppertz Biography Go tfried Huppertz KOSTliNE UND THEATERKUNST El II KiS MB! MlflMIMt W, Das Unternehmen THEATERKUNST GmbH 1 HEATERKUNST GmbH: The compt ly DIE KAMERATECHNIK mUM II @® Fritz Langs Film METROPOLIS, die amerikanische Mitchell-Kamera und andere Aufnahmegerate der Stummfilmzeit Fritz Lang's film METROPOLIS, the American , Aitchell camera and other recordinc devices from the silent film era DIE UFA IIIID METROPOLIS I'M AE3B i ¥IUS 9® Inflationskino nach der Wahrungsreform Inflatic i Cinema after the currency reforr Filmzensur in der Weimarer Republik Film censi. rship in the Weimar Republic Auszuge aus der Zensurkarte von METROPOLIS Excerpts from the certificate of ap roval of METROPOLIS Dokumente aus der Geschichte der Deutschen Bank Documents from the history oi Deutsche Bank LIFA Historie UFA history UFA Magazin UFA magazine FILM- UND KULTURHISTORISCUE BETRACHTUNGEN ZU METROPOLIS flffl «IM*(H iMM ©OMIMSKi @ 1 GflMWi U0@ Die Moderne als Moloch Moloch as a symbol f >r modernity Die neue Frau als falsche Maria The New Won an as the False Maria un/happy ending? un/happy ending? METROPOLIS, der absolute Film METROPOLIS, he absolute film FILMKRITIK • ,! BIB 0@3 Filmkritik von Theodor Heuss Filmre\iew of Thee dor Heuss Filmkritik von Hans Siemsen Filmreview of Hans Siemsen Vom Film Of films METROPOLIS IN KOLN I; 50, Ml' 00® METROPOLIS in Koln METROPOLIS in Cologne Stadtplan 1927 City map 1927 Preise fur Kinokarten im Jahr 1927 Prices of cin ;ma ticxets in 7 927 Kinoanzeigen der Kolner Tagespresse Cinema c dvertismg in the Cologne daily pr ss REGISSEUR. PRODUZENT. SCHAUSPIELER M» f«, 093 Biografie Fritz Lang Biography Fritz Lang Filmografie Fritz Lang Filmography Fritz Lang Biografie Thea von Harbou Biograpny Thea vor Harbou Biografie Erich Pommer Biography Erich Pomme • Biografie Brigitte Helm Biography Biigitte Helm ~ Biografie Gustav Frohlich Biography Gustav Frc ilich Biografie Alfred Abel Biography Alfred Abel Biografie Rudolf Klein-Rogge Biography Rudolf I lein-Roqge .

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Lang, Fritz , 1890–1976, German-American Film Director, B
Lang, Fritz , 1890–1976, German-American film director, b. Vienna. His silent and early sound films, such as Metropolis (1926), are marked by brilliant expressionist technique. He gained worldwide acclaim with M (1933), a study of a child molester and murderer. After directing 15 films, Lang fled Nazi Germany (1933) to avoid collaborating with the government and settled in the United States. His 20 Hollywood films continued his exploration of criminality and the cruel fate that can overtake the unwary. His notable American works include Fury (1936), You Only Live Once (1937), Hangmen Also Die (1943), The Big Heat (1953), and Beyond a Reasonable Doubt (1956). Born in Vienna, Austria, Fritz Lang’s father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten . After high school he enrolled briefly at the Technische Hochschule Wien, then started to train as a painter. From 1910 to 1914 he traveled in Europe and, he would later claim, also in Asia and North Africa. He studied painting in Paris in 1913-14. At the start of the First World War he returned to Vienna, enlisting in the army in January 1915. Severely injured in June 1916, he wrote some scenarios for films while convalescing. In early 1918 he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at UFA and then for Nero-Film, owned by the American Seymour Nebenzahl.
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Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
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Fritz Lang - an Auteur of German Expressionism Phil Mccarron College of Dupage
ESSAI Volume 14 Article 26 Spring 2016 Fritz Lang - An Auteur of German Expressionism Phil McCarron College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation McCarron, Phil (2016) "Fritz Lang - An Auteur of German Expressionism," ESSAI: Vol. 14 , Article 26. Available at: http://dc.cod.edu/essai/vol14/iss1/26 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. McCarron: Fritz Lang Fritz Lang - An Auteur of German Expressionism by Phil McCarron (MPTV 1113) ritz Lang, born in Vienna in 1980, would eventually become a father of German Expressionism in film, an influential pre-cursor to Film Noir, and leave behind a body of work Fsoaked in pessimism that exposes, as he saw it, the corrosive nature of society. Lang volunteered to serve in the Austrian Army during World War I. Afterward, while recovering from war wounds, both physical and mental, Lang tried his hand at writing screenplays, eventually getting the attention of UFA studios in Germany. His stint writing films was a brief one before he took on the mantel of director. From 1919 to 1933, Lang honed what would become his hallmark style of dark, striking visuals and themes of madness, corruption, and mob rule. After a personal threat from Nazi Propaganda Minister, Joseph Goebbels, Lang fled both his country, and his wife, for Hollywood. Lang successfully married his style of expressionism to the sometimes narrow artistic scope of the American studio system, which saw both critically and financially successful films earn him notoriety as a true artist in the medium of film.1 Lang's early, German films were shot at a time when Germany was in a self-contained artistic bubble.
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Fritz Lang: a “Dark Mirror” to Germany and America
FRITZ LANG: A “DARK MIRROR” TO GERMANY AND AMERICA by ELLEN KATHLEEN LUTON (Under the direction of Dr. Christine Haase) ABSTRACT This thesis traces the transition of Fritz Lang from German cinema to American. The development of Lang’s style and techniques used to demonstrate social and political aspects of society both in post war Germany and post war America are being discussed. Furthermore this thesis shows, through the close study of two of Lang’s major films, the expressionistic tendencies that Lang later conveyed in his noir films. INDEX WORDS: Expressionism, Film Noir, Fritz Lang, M, The Big Heat FRITZ LANG: A “DARK MIRROR” TO GERMANY AND AMERICA by ELLEN KATHLEEN LUTON B.A., The University of South Carolina A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2003 © 2003 Ellen Luton All Rights Reserved FRITZ LANG: A “DARK MIRROR” TO GERMANY AND AMERICA by ELLEN KATHLEEN LUTON Approved: Major Professor: Dr. Christine Haase Committee: Dr. Alexander Sager Dr. Max Reinhart Electronic Version Approved Gordham L. Patel Dean of Graduate School The University of Georgia May 2003 DEDICATION I dedicate this to my husband, Derek, for the long hours and arduous nights he survived while I wrote this. iv ACKNOWLEDGEMENTS I would especially like to express my gratitude to Dr. Haase for the wealth of knowledge that she has shared with me. She offers so much insight into the world of film and has opened my mind to a world of new experiences.
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A Tale of Two Companies the Second Volume of the Monographs of Hong
A Tale of Two Companies The second volume of the Monographs of Hong Kong Film Veterans series, An Age of Idealism: Great Wall & Feng Huang Days, focuses on the film people connected with Hong Kong's two long-established film companies, Great Wall and Feng Huang. This project has bought us many times to the dormitory of the Clear Water Bay Film Studio and the office of South China Film Industry Workers Union where interviews with film veterans were conducted. These places remain the home and hangout for many of the retired film veterans who have worked for Great Wall and Feng Huang since the old days and are still bound by the spirit of unity. It is little wonder that many of the illustrations in the monograph are group photos showing the whole team united for a common purpose - the forming of study groups, basketball teams.... Such 'team-spirit' pervades through their works and certainly their lives. There had been ups and downs. The great director Zhu Shilin was once orbited by his disciples, such as Bao Fong, Lo Kwan-hung, Hu Siao-fung, etc. They together contributed many great films. Then the Cultural Revolution began, and production of the two companies came to a halt. Their films, when seen today, still carry their aspirations and ideals. Though the great old days were gone and the careers of the veteran filmmakers we talked to may have veered off into different directions, their sentiments still win our applause. Their saga of lost and found certainly requires our reflections. Great Wall and Feng Huang, under the shrewd leadership of Zhu Shilin and Li Pingqian, earned credits for their fine portrayals of human relationship and ethics.
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Thea Von Harbou
Thea von Harbou Also Known As: Mrs. Rudolf Klein-Rogge Lived: December 27, 1888 - July 1, 1954 Worked as: adapter, director, novelist, screenwriter, source author, theatre actress Worked In: Germany by Brigitta B. Wagner In his 1928 book on film directing and screenwriting, Russian filmmaker Vsevolod Pudovkin notes that many literary figures had difficulty adjusting to “the optically expressive form” of film (110). Thea von Harbou, one of three German screenwriters who Pudovkin singles out, stands alongside Carl Mayer as one of the most influential film figures in Weimar German cinema, which spanned the years 1919 to 1933. Including an excerpt from Harbou’s script for Spione (1928), an espionage adventure film, Pudovkin goes on to praise the novelist Harbou for her ability to work with the film medium. Indeed, it is Harbou’s awareness of the “possibilities of the camera such as shots, framing, editing, [and] intensification through visually striking details” that distinguishes her work (212). In the scene in question—one of the most visually dynamic in the film—Harbou conveys in words the sense of movement, speed, and sudden discovery surrounding a train wreck. Each shot, each significant gesture, is noted, and in this she exemplifies the way her husband and collaborator Fritz Lang once described the model screenplay: “To the last intertitle everything has to be ready before the cameras roll” (62). Despite Pudovkin’s support and her work with Lang and F. W. Murnau, Harbou had her detractors. Unlike Lang, who did not rise to prominence with several directing and screenplay credits until 1919, Harbou had been publishing popular sensationalist novels since 1910.
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Close-Up on the Photo Album of Woman in the Moon by Fritz Lang
Close-up on the photo album of Woman in the Moon by Fritz Lang The album A film, some photos In 1929, the German director, Fritz Lang filmed Frau im Mond , Woman in the Moon . Against a background of amorous intrigue, the film recounts the fictional adventure of the first trip into space, with many special effects and sound scientific knowledge. The film, produced by Fritz Lang-Film GmbH, the director’s production company, was distributed by the UFA 1, one of the largest cinema companies of the 1920s. At the time, Fritz Lang was an internationally acclaimed director, honoured as a cinema master thanks to the success of Dr. Mabuse , as well as both Nibelungen and Metropolis . The welcome that Woman in the Moon received was, however, lukewarm. Although film critics applauded its technical virtues, they were critical –as for Metropolis – of its weak script. While talking films, which appeared two years earlier, were enjoying success which outshone silent films, Fritz Lang refused to add sound to Woman in the Moon . This was to be his last silent film, the last demonstration of his artistic work in the UFA studios. The legacy of this adventure is of course the film, but also a rare piece of work: the photo album of the set, donated by Fritz Lang to the Cinémathèque française in 1959. This 4-volume album, includes over 700 images. It recounts both the ploy of the film and the UFA’s filming methods; and presents Fritz Lang as a film director. It also demonstrates the importance of the movie set photographer, whose images constitute both works and documents for the history of the cinema.
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Fritz Lang's Destiny
FRITZ LANG’S DESTINY (DER MÜDE TOD) Official Selection, 2016 Berlinale Film Festival 1921 / Germany / 98 min. / Color Tinted / Not Rated Digitally restored 2016 version in 2K DCP Press materials: www.kinolorber.com Distributor Contact: Kino Lorber 333 W. 39th Street New York, NY 10018 Rodrigo Brandao, [email protected] Matt Barry, [email protected] Short Synopsis: A young woman (Lil Dagover) confronts the personification of Death (Bernhard Goetzke), in an effort to save the life of her fiancé (Walter Janssen). Death weaves three romantic tragedies and offers to unite the girl with her lover, if she can prevent the death of the lovers in at least one of the episodes. Thus begin three exotic scenarios of ill-fated love, in which the woman must somehow reverse the course of destiny: Persia, Quattrocento Venice, and a fancifully rendered ancient China. Long Synopsis: A cloaked figure (Bernhard Goetzke) materializes on the side of a country road and boards a carriage occupied by a pair of young lovers (Lil Dagover, Walter Janssen). A flashback reveals that this mysterious figure had obtained a plot of property adjoining the local cemetery—a plot of land surrounded by high walls—walls without window or gate—at which he stands as a sentinel. After arriving at a quaint village, the lovers drink a traditional toast to their relationship, but the specter of death emerges (a drinking glass transforms into an hourglass, alongside which is the shadow of the stranger’s walking stick, capped by the figure of a skeleton). Soon thereafter, the young woman learns that her fiancé has been taken away by the stranger, who is now quite apparently the personification of death.
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Spring 2010 SCREENING LIST
1 The Cinema of Fritz Lang Spring 2014 W 12:30-4:30 ROOM: Cantor 101 Dana Polan 629 Tisch phone: 81614 email: [email protected] office hours: Thursdays, 9:15AM-12:15PM or by appointment From silent cinema to the sound film, from early film to new waves in art cinema, from Weimar to emigré Paris to Hollywood, and across genres from the Western to the adventure story to the epic to the spy tale to film noir, Fritz Lang's movie-making spans a major part of the history of cinema. Throughout, his films reveal consistent themes and style. Above all, his cinema investigates the possibility of human will and initiative and suggests that human action may be doubly constrained and determined: by external forces such as social institutions (law, media, rules of propriety, economic divisions of class, and so on) and by internal forces such as instinctual drives (HUMAN DESIRE, as the title of one of his films puts it). Ranging across his career in film from Germany to the US and back to Europe, this course looks at both the diversity and the stylistic/thematic regularity in Lang's body of work to pinpoint how particularly he used cinema in the representation of the interplays of human initiative and the constraints on effective action. There are a set of requirements for this course: 1. an in-class mid-term on March 12. 10% of grade. 2. a final exam on Wednesday, May 14. 20% of grade. 3. a two-page paper, due on February 21.
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Más Allá De La Duda. El Cine De Fritz Lang
MÁS ALLÁ DE LA DUDA. EL CINE DE FRITZ LANG IMATGE AULA DE CINEMA- SERVE! D'EXTENSIÓ UNIVERSITÁRIA UNIVERSITAT DE VALENCIA © Los autores. EDITA: Universitat de Valencia Servei d'Extensió Universitaria Aula de Cinema I.S.B.N.: 84-370-0954-5 DEPÓSITO LEGAL: V. 1.7 52-1992 IMPRIME: Gráficas Marí Montañana Santo Cáliz, 7. Tel. (96) 3912304" 46001 Valencia (España) Con este libro "MÁS ALLÁ DE LA DUDA. EL CINE DE FRITZ LANG", se inicia un trabajo editorial que había obtenido sus primeros resultados en las publicaciones emprendidas por el Aula de Cine del Servicio de Extensión Universitaria de la Universidad de Valencia en años anteriores. Por esta razón, el libro que el lector tiene entre sus manos es, a un mismo tiempo, un resultado y un origen: resultado de una labor organizativa, pedagógica e investigadora desarrollada du rante algunos cursos académicos por el Aula de Cine; origen, puesto que constituye el número primero de una colección cuyo cometido es la investigación en torno a la imagen en todas sus dimensiones y alcances. Albert Girona DIRECTOR SER\1EI D'EXTENSIÓ UNl\IERSITARIA El universo languiano: más allá de una duda razonable Vicente Sánchez-Biosca Fritz Lang. He aquí un nombre repleto de ecos en la historia del cine. Las más de cuarenta películas que llegó a dirigir, los guiones que escribió y aquellas míticas palabras que Jean-Luc Godard le hacía pronunciar en Le mépris son sólo la parte más visible y plasmada en la pantalla de un larguísimo recorrido. Pero tal vez se encuentre dotado de mayor valor mítico su abandono de aquella tierra que le había reconocido como el más influyente y monumental de los realizadores (y, quede claro, en Alemania durante los años veinte, tal denominación significaba 'artistas' en un sentido pleno) para, como paladín de la democracia, huir con poco más que lo puesto a París y, más tarde, a la tierra prometida, Hollywood.
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The Films of Fritz Lang
The Films ofFritz Lang Allegories ofVision and Modernity TOM GUNNING A BFt book published by Palgrave Macmillan Contents Preface and Acknowledgments IX Introduction: Standing Outside the Films - Emblems The Inscribed/Imprinting Hand 1 The Screening Room: 'Strange but True' 4 The Interview and the Clock 8 PART I: Reading the Text of Death - Lang's Silent Allegories: Der müde Tod (1921), Die Nibelungen (1924), Metropolis (1927) 1 The Märchen: Der müde Tod - Death and the Maiden Who Tells the Timely Story of Death? 15 The Allegory ofthe Maiden: Reading and Desire 22 Final Figure: The Look at the Camera 30 2 The Decay ofMyth: Siegfried's Death, Kriemhild's Revenge 34 3 Metropolis: The Dance ofDeath The Allegory ofthe Machine 52 The Universal Language of Silent Film 56 Demons ofEnergy: Who Rules the City of Metropolis? 62 Gothic Modernism: Technology as Modern Magic 64 Oedipal Nightmares, Allegorical Riddles 68 Apocalypse without End, Endings without Conviction 77 Burn Witch Burn 80 PART 11: The Mastery of Crime - Lang's Urban Thrillers: Dr. Mabuse, the GambIer (1922), Spies (1928), The Testament ofDr. Mabuse (1932) 4 Mabuse, Grand Enunciator: Control and Co-ordination The Sensation-film and the Spaces ofModernity 87 The Terrain ofModernity: Space, Time and the Mastery of Communication 94 The Mechanical Production of Counterfeit Identity 99 The Grand Enunciator and the Power of the Gaze 108 Playing with Time 113 5 Haghi The Evil Genius/Mauvais genie 117 The Staging of Desire 123 Building Identity from Fragments 127 Finale: Bringing Down the House 134 VI CONTENTS 6 The Testament 01 Dr.
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Updated Metropolis Synopsis
CAST Joh Fredersen………………………………. Alfred Abel Freder Fredersen…………………………… Gustav Fröhlich Maria / The Robot…………………………. Brigitte Helm Rotwang……………………………………. Rudolf Klein-Rogge Josephat…………………………………….. Theodor Loos Grot (Foreman)…………………………….. Heinrich George Slim………………………………………… Fritz Rasp Master of Ceremonies……………………… Heinrich Gotho Georgi, 11811……………………………… Erwin Biswanger Mafinus…………………………………….. Hans Leo Reich Jan………………………………………….. Olaf Storm CREW Director…………………………………….. Fritz Lang Screenplay………………………………….. Fritz Lang & Thea von Harbou Producer……………………………………. Erich Pommer Original Music Score………………………. Gottfried Huppertz Cinematography……………………………. Karl Freund & Günther Rittau Art Direction……………………………….. Otto Hunte, Erich Kettelhut & Karl Vollbrecht Costume Design……………………………. Aenne Willkomm Set Designer………………………………... Edgar G. Ulmer Special Effects……………………………... Ernst Kunstmann Visual Effects………………………………. Gunther Rittau & H.O. Schulze Painted Effects & Technical Advisor……… Erich Kettelhut Sculptures & Robot Design………………... Walter Schultze-Mittendorf Makeup…………………………………….. Otto Genath Still Photography…………………………... Horst von Harbou Production………………………………….. Universum-Film AG (UFA), Berlin © 2010 Kino International | www.kino.com/metropolis 1 SYNOPSIS (Passages and sections still considered lost are italicized; new additions to this restoration are in bold.) In Metropolis, a towering city of the future, society is divided into two classes: one of planners and management, who live high above the Earth in skyscrapers; and one of workers, who live and toil underground, slaves to the whistle of Metropolis’s ten-hour clock. Like the other children born into the privileged upper caste, Freder Fredersen, the only son of Metropolis’ ruler, lives a life of luxury. One day, as he and his friends play games in the lush, private Eternal Gardens, they are interrupted by a beautiful girl, accompanied by a group of workers’ children. They are quickly ejected, but Freder is transfixed by the girl — and decides to follows her down to the grim Lower City machine rooms.
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