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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. Die Bestie 135 Beyond a Reasonable Doubt. Jenseits allen Zweifels 137 Der Tiger von Eschnapur / Das indische Grabmal 139 Die tausend Augen des Dr. Mabuse 140 Daten Von Hans Helmut Prinzler 143 Biograf ie 143 Filmografie 144 Bibliografie 161.

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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/.
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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.
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Graham Greene and the Idea of Childhood
GRAHAM GREENE AND THE IDEA OF CHILDHOOD APPROVED: Major Professor /?. /V?. Minor Professor g.>. Director of the Department of English D ean of the Graduate School GRAHAM GREENE AND THE IDEA OF CHILDHOOD THESIS Presented, to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Martha Frances Bell, B. A. Denton, Texas June, 1966 TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. FROM ROMANCE TO REALISM 12 III. FROM INNOCENCE TO EXPERIENCE 32 IV. FROM BOREDOM TO TERROR 47 V, FROM MELODRAMA TO TRAGEDY 54 VI. FROM SENTIMENT TO SUICIDE 73 VII. FROM SYMPATHY TO SAINTHOOD 97 VIII. CONCLUSION: FROM ORIGINAL SIN TO SALVATION 115 BIBLIOGRAPHY 121 ill CHAPTER I INTRODUCTION A .narked preoccupation with childhood is evident throughout the works of Graham Greene; it receives most obvious expression its his con- cern with the idea that the course of a man's life is determined during his early years, but many of his other obsessive themes, such as betray- al, pursuit, and failure, may be seen to have their roots in general types of experience 'which Green® evidently believes to be common to all children, Disappointments, in the form of "something hoped for not happening, something promised not fulfilled, something exciting turning • dull," * ar>d the forced recognition of the enormous gap between the ideal and the actual mark the transition from childhood to maturity for Greene, who has attempted to indicate in his fiction that great harm may be done by aclults who refuse to acknowledge that gap.
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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.
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Altering Environments Affect the Psychological State Caitlin Hesketh SUNY Geneseo
Proceedings of GREAT Day Volume 2010 Article 24 2011 Altering Environments Affect the Psychological State Caitlin Hesketh SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Hesketh, Caitlin (2011) "Altering Environments Affect the Psychological State," Proceedings of GREAT Day: Vol. 2010 , Article 24. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2010/iss1/24 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. Hesketh: Altering Environments Affect the Psychological State Altering Environments Affect the Psychological State Submitted by: Caitlin Hesketh During the 1950s, the decade subsequent to the At this point in the novel Graham does publishing of Eric Ambler’s Journey into Fear, not see the necessity of taking action to save his Graham Greene’s, The Ministry of Fear, and life. He cannot comprehend how closely he is Henry Green’s, Back, a new subfield of tied to the inner workings of the war and states: Psychology was established: Environmental Nonsense, Kopeikin! You must be out of Psychology. This subfield “studies the your senses. What conceivable reason relationship between environments and human could anyone have for wanting to kill behavior and how they affect one another” me? I’m the most harmless man alive. (Conaway). These characters’ actions, thoughts, (Ambler, 42) and beliefs undergo alteration due to the It is clear at this point in the novel that physical or emotional setting that they are in.
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Metropolis, 1927, Director: Fritz Lang
SOURCES 1.Kaes, Anton, *Weimar Cinema,* Columbia University Press: New York 2009. 2.Ott, Fred, *The Films of Fritz Lang*, Lyle Stuart: New York 1979. 3. "Women's Pioneer Project," Columbia University Library Services, wfpp.cdrs.columbia.edu/pionee r/ccp-thea-von-harbou/ SOCIO-CULTURAL CONTEXT Inspired, according to Lang, by his first impression of the Manhattan skyline in 1924, Metropolis was written in 1924 and released nine years after Germany's defeat in World War I, and like all great sci-fi films, reflects both the hopes and the fears of a turbulent society heading towards modernization. In part a meditation on the future relationship between the human and the machine in this modernity. Metropolis is "a great cinematic document of German Expressionism" which "fulfilled the expressionist Weltanschauung that a work of art should [...] finally propound the belief that through the destruction and BRIGITTE HELM, 1906-1996, star of Metropolis (along with rebirth of the world, a new and pure humanity will Gustav Frolich as Feder and Rudolf Klein Rogge as CINEMATOGRAPHY IN CHANGING OF THE SHIFT Rotwang, who also played Caligari in The Cabinet of Dr. arise: the dawn of the Kingdom of Love," while also Caligari and Dr. Mabuse in Dr. Mabuse the Gambler and reflecting that era's fascination with cubism and SCENE The Testament of Dr. Mabuse) in which she played both the futurism (Ott 124). (relationship of sociocultural context to cinematic element) good-hearted working girl Maria and her evil robot doppleganger. One of the most startling and memorable In this scene from the beginning of the film, scenes in the movie is her mesmerizing, lascivious dance in a brothel.
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Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P.
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38 Eve Wersocki Morris, Q33606, Pp. 359-67
‘He had a Horse Called Bill’ (Yellow Sky): The Appropriation of Shakespeare in the Western. Eve Wersocki Morris Studying film from the perspective of genre theory requires analysis of cinematic techniques and contextual culture (filmic and social). Christine Gledhill claims that genre provides ‘a framework of structuring rules […] which act as a form of ‘supervision’ over the work of film-makers and the work of reading by an audience’.1 This definition indicates that each genre adheres to a fixed hierarchal form. Alternatively, Anthony Easthope argues that genre should be understood as an abstract, theoretical structure, which is transformed by each new production so ‘any instance of a genre will be necessarily different’.2 Easthope implies that the ‘structuring rules’ are not fixed but allow filmmakers ideological concerns and social and cultural environments to influence their individual films and aid in developing the genre framework itself. My essay shall adhere to this latter argument. In agreement with Easthope, Mary Bandy and Kevin Stoehr have argued that, post- World War Two, the Western experienced a ‘gradual transformation of genre’3 towards more ‘psychologically expressive Westerns’4 which was due to the public’s desire for darker subject matter. Alan Lovell specifies that these new Westerns did not alter the genre but simply imposed ‘a new sensibility on the old forms’,5 retaining the classic wild west scenery of the 19th Century American frontier. Andre Bazin has called these new Westerns ‘superwesterns’6 and Lovell refers to them as ‘adult westerns’.7 However, for the purposes of this essay, I shall be adopting Bandy’s term ‘psychological western’ because of its explicit allusions to the increased interest in exploring characters’ inner struggles.
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Case Study: Fritz Lang and Scarlet Street*
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Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
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Jack Oakie & Victoria Horne-Oakie Films
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