index [leseprobe.buch.de] · index 589 black people, 311–312, 320n22 blanchot, maurice,...
TRANSCRIPT
A Companion to Fritz Lang, First Edition. Edited by Joe McElhaney.© 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc.
À bout de souffle (Godard), 474–475À nous la liberté (Clair), 398abstraction, 292–295, 519–520, 549–550,
570–574, 576Act of Love (Litvak), 532actors
black, 311, 312frame of performance, 17–18, 340–356national pride in, 87–88
Adorno, Theodor, 115, 127, 152, 154adventure films, 477–478advertising, 39–40Advise and Consent (Preminger), 487Aelita (Protazanov), 398aerial photography, 573–574aesthetics, 13–15, 17–19, 20, 435–437, 558
see also camera movement; framing; image(s); objects and things
African Americans, 311–312, 320n22After Hours (Scorsese), 449Agamben, Giorgio, 199agency, 178–179, 431–432aging, 528–531Alien (Scott), 577, 579All I Desire (Sirk), 520allegory, 148, 521–527
Allombert, Guy, 243America
the American West, 11–12, 219–237in Beyond a Reasonable Doubt, 9, 163exile in, 300–305, 314–315, 317, 417, 428
see also America, post-WWII exilesfascism, 301–302, 308, 312, 313, 314, 315Hollywood studios, 305, 314, 317, 427home, 19–20, 26, 372–389, 514, 515,
517–518, 520–521, 530–531, 533Die Nibelungen, 191, 192paranoia, 81, 83, 86–88, 308post-WWII exiles, 26–27, 515, 517–518post-WWII politics, 23–24, 458–459,
460–461, 472, 515racism, 301, 311–312, 320n22reception of M, 96rocketry, 580, 581war cinema, 21–24, 415–428, 430–452,
458–472American films of FL, 2, 3, 7, 8–9, 11–13,
15–20, 21–28, 172see also specific films
American Guerilla in the Philippines, 21, 176, 415–416, 428, 519
Anatomy of a Murder (Preminger), 487
Index
Note: Bold page numbers indicate main topics; italic numbers refer to illustrations.
0002178495.indd 587 10/8/2014 10:52:23 AM
COPYRIG
HTED M
ATERIAL
588 Index
Andrews, Dana, 171, 172, 173Anguish (Luna), 509Antheil, George, 505anti-adaptation, Die Nibelungen as, 9–10,
176–193anti-heroes/heroes, 115–116, 162–169, 197,
198, 508anti-Semitism, 83, 151–152, 192–193, 199,
201–202, 314Antonioni, Michelangelo, 474, 479Apartment, The (Wilder), 375Appia, Adolphe, 178Aragon, Louis, 281architecture, 342–343, 352–353, 354–356,
397–398Arcos affair, 82Argento, Dario, 509Armour, Robert A., 191Arnheim, Rudolf, 6, 96, 154n2, 264–265,
272, 398, 565artificiality, 324
see also surface detailsart(s)
advertising, 39–40bourgeois life, 18–19, 361–369demonic aspects, 26, 509–510exchange value, 366FL’s collection, 279FL’s teenage ambition, 359frames of performance, 17, 340, 342–351objects and things, 279, 281–285,
292–295of omission, 18–19, 358–370surrealism, 450–451technology, 557–558, 568–569, 572–573,
574, 581–582will to (Kunstwollen), 394–399
Atalante, L’ (Vigo), 255n10Au coeur du mensonge (Chabrol), 510audiences see viewersaudio-visual montage, M, 71–72, 94, 95,
98–106, 108–110, 271auteurs/auterism, 106–107, 161, 242–243,
327–328, 334–338, 395, 435–437, 476
autobiography, 18, 19, 358–362, 369
avant-garde, 281, 284–285, 290, 293, 396–397, 450–451
avventura, L’ (Antonioni), 474–475, 479
Baecque, Antoine de, 256n16Baker, Graham, 329Balázs, Béla, 150, 155n13, 281–282Ballet mécanique (Léger), 396, 397Barrett, Gerald R., 453n4Barry, Iris, 96Barthes, Roland, 40Basinger, Jeanine, 416Bataan (Garnett), 424Bataille, Georges, 366Baudrillard, Jean, 509Bazin, André, 13, 101, 253, 280, 533, 545Bell, Daniel, 382Bellboy, The (Lewis), 487Bellour, Raymond, 2–3, 13, 29, 45, 133,
233, 243, 282, 335, 522, 523, 528–529, 533, 556, 573
Benjamin, Walter, 147–148, 169, 199, 206, 284, 371, 490–491, 542, 558, 568
Bennett, Joan, 17–18, 340–356, 359, 364, 465Bergman, Ingmar, 474Bergman, Ingrid, 532Bergson, Henri, 155n9Bergstrom, Janet, 511Berlin: Symphony of a Great City
(Ruttmann), 88, 283, 522Berman, Nina, 220, 222, 224Bernard, Claude, 544Bernstein, Matthew, 341Best Seller (Flynn), 509Bête humaine, La (Renoir), 27, 536, 539–541,
545–548Beyond a Reasonable Doubt, 8–9, 25, 115,
117, 118, 127, 128, 161–174, 322, 475, 477–478, 481–483, 484, 487, 488–489, 529, 549
Bicycle Thieves (De Sica), 532, 539Big Heat, The, 19–20, 117, 168, 176, 288,
293, 317, 328, 372–389, 490, 538–539
biography, 18, 19, 358–362, 369Black Legion, The (Mayo), 314
0002178495.indd 588 10/8/2014 10:52:23 AM
Index 589
black people, 311–312, 320n22Blanchot, Maurice, 161–162, 509blindness, 4, 7, 43–59, 114–115, 478Bloch, Ernst, 141blood rituals, 228–234blood and soil myth, 208–210Blue Gardenia, The, 115, 510, 549bodies, 135–136, 197, 200–201, 215, 289,
426–427Boehm, Sydney, 388Bogdanovich, Peter, 311, 329, 337, 512, 516,
522, 539, 540, 550n4Bonn, Moritz J., 81Boothill Graveyard, Tombstone, AZ, 228–230Bordwell, David, 440, 454n11, 495,
500–501, 507Bory, Jean-Louis, 243Boudu Saved from Drowning (Renoir), 548Boulez, Pierre, 101–104, 107bourgeois life, 18–19, 361–369Brandt, Dina, 560Braudy, Leo, 190–191, 272, 341–342, 347Braun, Wernher von, 560, 580, 581Brecht, Bertolt, 305, 424, 425, 521Breen, Joseph, 314, 469, 470Brenez, Nicole, 122, 509Brill, Lesley, 237Brilliantenschiff, Das, 285–286Britain
Arcos affair, 82post-WWI paranoia, 83–84, 85WWII rocket attacks, 580–581
British Film Institute, 1Bronfen, Elisabeth, 386Brown, Bill, 280Buchman, Sidney, 431Buchner, Hans, 82–83Buñuel, Luis, 154n4Burch, Noël, 6, 15, 43, 97, 99, 101–104, 107,
108, 265, 479, 495
Cabinet of Dr. Caligari (Wiene), 282, 455n19caesuras, 9, 166–169, 174Cahiers du Cinéma, 8–9, 16–17, 24, 161, 322,
326–328, 476–477, 486–487, 495, 539, 549–550
Cain, James M., 539camera angles
Beyond a Reasonable Doubt, 165–166, 173FL’s signature shots, 29, 569House by the River, 498Scarlet Street, 363
camera movementClash by Night, 27, 520–521, 524, 531frames of performance, 340, 344, 351,
352–354Fury, 310German films, 13–14, 109–110, 259–276House by the River, 26, 501–503Ministry of Fear, 435–436, 439–440Rancho Notorious, 244–249, 252–253The Thousand Eyes of Dr. Mabuse, 129,
133–134While the City Sleeps, 483–484Woman in the Moon, 573–574You Only Live Once, 331–334
capitalism, 116, 398, 484–487, 489–490, 556, 572
capitalist time, 11, 213–214censorship, 300, 301, 469–470, 472Cézanne, Paul, 19, 365–366, 368–370, 542Chabrol, Claude, 476, 510Chaplin, Charles, 398character, FL’s modern, 17, 322–338character development, 10, 187–188characterization, 47, 549Chienne, La (Renoir), 346–347, 360–361,
552n12cinema
as diplomacy, 76–77, 84–85, 86–87dual function, 163–164, 174not looking of Dr. Mabuse, 44–45, 51–52as propositional discourse, 96–100,
106–107total, 394–399, 403
cinematic timeMinistry of Fear, 440–442Der müde Tod, 145–147, 148, 150–151, 153Die Nibelungen, 11, 210–214Rancho Notorious, 13, 243–244, 249–254
circular patterns, 172Clair, René, 142, 398
0002178495.indd 589 10/8/2014 10:52:23 AM
590 Index
Clarke, I. F., 84Clash by Night, 26–27, 176, 475, 514–534,
537, 549classicism
Clash by Night, 26–27, 514–534Ministry of Fear, 22, 435–437modern cinema and, 474–492
Clemenceau, Georges, 207–208Cloak and Dagger, 23–24, 37, 417, 428,
458–472clocks, 22–23, 437–443, 530, 576Cobb, Lee J., 516Cocteau, Jean, 281Cohn, Bernard, 243Cold War, 23, 91, 460, 472collectors, 279–280Colless, Edward, 507Color of Lies, The (Chabrol), 510Columbia Pictures, 550n4communication, terror, 69–70, 71communism
post-WWI paranoia, 80, 82–83post-WWII America, 23, 458–459,
460–461, 472terror in FL’s German works, 63–65
Comolli, Jean-Louis, 167conspiratorial society, 64–65Constructivism, 283, 396–397control, 431–432
see also powerCook, David, 432, 433Cooper, Gary, 459Cormack, Bartlett, 305Costa, Pedro, 137Coursodon, Jean-Pierre, 495, 496, 500, 504Courtade, Francis, 430Cracroft, Richard, 221Crary, Jonathan, 44, 122credits, 239n16, 244, 522–523crime
American West, 228–230beginning of the genre, 48–49paradigms for Lang films, 115–120queerness, 379–380, 382, 383representations of terror, 63–66, 67–68sociological nature of M, 97–99, 107
violence of, 37–38Woman in the Moon, 572–573see also specific films
critical receptionHouse by the River, 25, 494–495, 510Rancho Notorious, 13, 242–244, 252–254Woman in the Moon, 556, 564–567, 572
criticismFL’s modern character, 17, 322–338M as film that advances, 6, 94–111Der müde Tod as philosophical work,
141–142Rivette’s foundational text, 8–9see also Cahiers du Cinéma
critics, FL as father figure, 24–25, 476–477, 488
Crouch, Tom D., 579–580Crowd, The (Vidor), 375cultural imperialism, 86–90cultural stereotypes, 382cultural taste, 510–512
Dadoun, Roger, 105–106Daney, Serge, 39, 127, 476, 488Danto, Arthur, 40, 492n8Dark at Noon (Ruiz), 509Dawes Plan (1924), 81, 82–83Day in the Country, A (Renoir), 496Days of Heaven (Malick), 496De Jarnatt, Steve, 449De Sica, Vittorio, 532, 539death, 15
Heydrich’s death scene, 425–426Der müde Tod, 8, 141, 142, 144, 145–149,
150–151, 152–154, 297, 528objects and things, 280, 283, 285, 286,
287–288, 292–293, 294–295, 297representations of terror, 69–70spectacularization, 173–174symbolic memorialization, 203thresholds, 496–499You Only Live Once, 337zero as sign of, 172
Decker, John, 362decors, 279, 280, 281, 282–283, 294–295,
375–376, 380–385, 570–571
0002178495.indd 590 10/8/2014 10:52:23 AM
Index 591
decoupage, 169–170, 500–503, 547deep focus photography, 109, 110deixis, 10, 180–185Deleuze, Gilles, 110, 235, 254n5, 255n13,
282, 283demonic art, 509–510Demonsablon, Philippe, 326, 342, 549Deslaw, Eugène, 396, 397Desperate Journey (Walsh), 424destiny, 164–165, 173Destiny see müde Tod, Derdetective novels, 48determinism, 544–545Devismes, Brigitte, 388Dial M for Murder (Hitchcock), 36dialectical cinema, 162–163, 166Diamond Ship, The, 285–286Diana Productions, 17, 23, 25, 341, 460–461Dietrich, Marlene, 243, 244, 251, 252, 253digital media, M and, 108–110Dimendberg, Edward, 371, 372Dinelli, Mel, 499diplomacy, 76–77, 84–85, 86–87discourse, propositional, 96–100, 106–107disenchantment, 7, 114–115disguise, 234–236documentary approach, 63–64, 73, 95–96,
97, 107, 110, 315–317, 444, 522Doherty, Thomas, 469Dolchstoβlegende, 198–199, 201Domarchi, Jean, 164–165, 539, 550domestic interiors, 19–20, 279, 372–389
see also decorsdoorways see portalsDoppelgängers, 490–491Doty, Alexander, 379Double Indemnity (Wilder), 317Dr. Mabuse, der Spieler, 2, 4, 10, 14, 43–59,
63, 66, 67, 69, 70, 80, 114, 119, 120–121, 126, 127, 176, 177, 261–264, 279, 282, 405, 476
Dr. Strangelove (Kubrick), 581, 582dramaturgy, Langian, 169–170dreams, 293, 343–346, 443, 449–450,
454n14, 577Dreyer, Carl, 144
Duchamp, Marcel, 290Dulac, Germaine, 396Dupont, Ewald André, 87, 260Dürer, Albrecht, 148Durgnat, Raymond, 546Duryea, Dan, 19, 347, 359Dyer, Richard, 373, 379, 380, 381
economic imperialism, 81, 82–83, 86–87, 88economics of art, 366–367economics of technology, 556–557, 560écriture, cinematic, 105editing
Clash by Night, 520–521, 522frames of performance, 17–18, 340–356House by the River, 500–503Ministry of Fear, 436parallel, 5, 47, 54–56see also montage
Eidos, cinema as, 20, 399–400Einstein, Albert, 222, 563Eisenstein, Sergei, 34, 99–100, 104, 396,
400, 403, 552n15Eisler, Hanns, 425–426Eisner, Lotte H., 67, 192–193, 216n1, 259,
261, 282, 293, 328, 329, 398, 399, 430, 443–444, 454–455n17, 458, 459, 495, 508, 510, 522, 526, 533, 558, 571
elevators, 136–137Elsaesser, Thomas, 57, 221, 224, 234, 509emotion–abstraction relation, 549–550entrances see portalsepithets, 187–188Epstein, Jean, 281, 396Ernest Hemingway’s The Killers (Siegel), 190erotic power, 349–350eroticism, cold, 508eroticized marriages, 376, 378espionage (spy) genre, 3, 4–5, 29
see also specific filmsEternal Jew, The (Der ewige Jude; Hippler),
110European film industry, 84–86exhaustion, 528–531exile(s), 15–16, 21–22, 26–27, 300–317, 417,
428, 515, 517–518, 532
0002178495.indd 591 10/8/2014 10:52:23 AM
592 Index
Exodus (Preminger), 487exoticism, 152, 153, 558–559expressionism
Fury, 313Human Desire, 27, 537–538Ministry of Fear, 444–446Der müde Tod, 148–149objects, 281–283, 284–285, 293–294Scarlet Street, 370You Only Live Once, 326
fairy tales, 146–147, 150, 154n2, 156n26family
camera movement and, 269–270House by the River, 507, 508postwar America, 19, 376–378, 385–389see also fathers and sons
Family Plot (Hitchcock), 475fantasy, realist, 443–452Fantômas (Feuillade), 136–137Farber, Manny, 325–326, 384farce, 434, 454–455n17fascism, 201, 301–302, 308, 312, 313, 314,
315see also Nazism
Fassbinder, Rainer Werner, 514–515, 518fate, 199–200, 211, 544–545fathers and sons
Metropolis, 269Moonfleet, 24–25, 476, 477, 478, 480–481,
482–483Faust (Murnau), 50, 260Feilitzsch, Heribert, 223Feld, Hans, 86Felix-Didier, Paula, 555Fellner, Hermann, 77Feuillade, Louis, 136–137figuration, 399–400filial relations see fathers and sonsfilm noir, 317, 371–389, 537, 551n5
see also specific filmsfilm-immanent analysis, 104–106filmmakers
FL as father figure for, 24–25, 476–477, 487, 488
refugee, 26, 515
filth, 511finitude, metaphysics of, 142–154Fisher, Lucy, 291flashbacks, 251–254Fleming, Ian, 190Flinn, Tom, 374, 375–376, 386Flynn, John, 509folk song, 153Fonda, Henry, 323, 329–334Ford, Glenn, 372, 537, 538, 540Ford, John, 480foreigners, 300–302, 314–315
see also exile(s)form
Eidos, 400M, 101–104, 107, 108, 110objects and things, 280–281, 287, 288,
294–295Fouchardière, Georges de la, 360, 552n12Four Around a Woman, 2, 115, 129, 176Four Horsemen of the Apocalypse (Ingram),
85Fowler, Marjorie, 349fragmentation, 34framed desire films, 24, 342, 462
see also House by the River; Scarlet Street; Secret Beyond the Door; Woman in the Window, The
framingClash by Night, 520, 524Cloak and Dagger, 23–24, 460, 462–472House by the River, 501–503Joan Bennett’s performance, 17–18,
340–356, 465Scarlet Street, 346–351, 363–364, 462While the City Sleeps, 489
FranceFirst International Film Congress, 84–85FL’s exile in, 304House by the River, 25, 495post-WWI, 198, 207–208post-WWII, 24–25, 476–477, 486–487Rancho Notorious, 13, 242–243, 252–253Renoir’s La Bête humaine, 545, 546Zola’s novels, 541–543see also Cahiers du Cinéma
0002178495.indd 592 10/8/2014 10:52:23 AM
Index 593
Franju, Georges, 8, 142free speech, 300, 301Freud, Sigmund, 36, 147, 297, 552n10Freund, Karl, 260Friedlob, Bert, 166, 173Friedrich, Caspar David, 569Friedrich, Ernst, 197Fritsch, Willy, 77, 87Fritz-Lang-Film-GmbH, 561–562Fritzsche, Peter, 91Fury, 12, 15–16, 70, 71, 117, 129–130, 163,
169, 172, 223, 227–228, 230, 255n14, 300–317, 328, 416, 418, 524, 526
Gabin, Jean, 547Gabriel over the White House (La Cava), 302Gail, Otto Willi, 560, 561Gallagher, Tag, 551n6Galloway, Alexander, 422Galt, Rosalind, 292Gans, Herbert, 382Garnett, Tay, 341, 424Garnham, Nicholas, 105gateways see portalsgaze, 4
Dr. Mabuse, 43, 262–265, 405FL–Hitchcock contrast, 34–41, 478foreigners’, 300–302the Indian diptych, 485mass manipulation, 89–90Le Mépris, 253Metropolis, 401, 403–405the moon, 569Moonfleet, 478, 479While the City Sleeps, 484, 485Woman in the Moon, 577–579see also looking
Genath, Otto, 192gender dynamics, 463–467, 470–471, 472gendered spaces, 371–373, 374–375,
376–378, 383–385, 530–531geometric patterns, 273, 292–294, 570–571,
572–573geometry, 399–400Géré, François, 167
GermanyMay’s American West, 12, 219–220,
221–227Nazism see Nazismpost-WWII disenchantment, 7, 114post-WWII identity, 514–515restoration of Metropolis, 393–394return of FL to, 476, 515technophilia, 28–29, 557–558Weimar era see Weimar Germany
Ghosts Before Breakfast (Richter), 281ghosts/phantoms, 71, 124–125, 505–506Gigi (Minnelli), 487Girard, René, 364Glucksmann, André, 243God, 161–162, 167, 171, 475Godard, Jean-Luc, 13, 40, 125, 131, 161,
162, 252–253, 338n1, 366, 474, 476, 488, 515, 518
Goddard, Robert H., 568Goebbels, Joseph, 193, 201, 358–359, 416,
427, 433, 437, 580Goethe, J. W. von, 557gothic genre, 3Gottmann, Jean, 378Gould, Michael, 446Graduate, The (Nichols), 454n13Grafe, Frieda, 294Grahame, Gloria, 373, 537, 538Granach, Alexander, 425Great War see World War IGreen Room, The (Truffaut), 488Greenberg, Joel, 370Greene, Graham, 313, 430, 431, 452n1,
454n14Grémillon, Jean, 396, 547Griffith, D. W., 144, 146, 253Grimm Brothers, 146Grune, Karl, 579Gunning, Tom, 1, 6, 21, 23–24, 25, 28, 90,
106–107, 121, 125, 127, 142, 211, 220–221, 264, 265, 271, 288, 319n17, 323–324, 327, 330, 332, 333, 342, 348, 351, 359, 361, 362, 371, 378, 382, 386, 388, 389n2, 432, 433, 437, 458, 462, 465, 478, 495, 537
0002178495.indd 593 10/8/2014 10:52:23 AM
594 Index
Haarmann, Fritz, 106Hake, Sabine, 204Hall, Mordaunt, 191Hall, Sara, 120hallucinations, 499–500hands, 15, 283, 285–288, 453n9, 581–582Hangmen Also Die!, 21–22, 35, 116, 417,
424–427, 428, 432Hansen, Miriam, 48, 324Harakiri, 2, 176Harlan, Thomas, 131Hartlaub, Gustav, 283Harvey, Sylvia, 376Hatari! (Hawks), 487Hauptmann, Bruno, 306, 315Hawks, Howard, 190, 440–442, 487Hayes, Alfred, 27, 517, 530, 531–532, 538,
539, 551n6Haymes, Edward R., 179Hayward, Louis, 496, 507health, 197Heath, John Wesley, 228–230Hebbel, Friedrich, 179, 189Hegel, G. W. F., 174Heidegger, Martin, 145, 147Helm, Brigitte, 404–405Hemingway, Ernest, 190Hepworth, John, 379–380Here Comes Mr. Jordan (Hall), 431heroes/anti-heroes, 115–116, 162–169, 197,
198, 508Herzog, Werner, 569Hesse, Hermann, 149–150Hetzfilme (incitement films), 85Heydrich, Reinhard, 424–427Heymann, Curt L., 96Heynen, Hilde, 371Higham, Charles, 370Higson, Andrew, 86Himmelskibet, 554Hindenburg, Paul von, 198–199Hippler, Fritz, 110His Girl Friday (Hawks), 440–442Histoire(s) du cinéma (Godard), 13, 253historical reception, 5, 6, 76–91, 94–96,
108–111
historical time, 242, 243–244, 249–254historicism, 8, 106, 142–154Hitchcock, Alfred, 3–4, 15, 33–41, 154n4,
169, 280–281, 379–380, 474, 475, 478, 497–498
Hitler, Adolf, 20, 64, 198, 201–202, 214–215, 222, 302, 408, 420–423
Hodeir, André, 102Hoffmann, Carl, 50–51, 192, 260Hölderlin, Friedrich, 9, 161–162, 163,
166–167, 169, 172, 174Hollywood
censorship, 469–470, 472classical, 435–437, 478European–American styles, 516, 520,
523, 524–526, 533, 540FL’s American films, 2, 3, 7, 8–9, 11–13,
15–20, 21–28, 172see also specific films
Godard’s “revenge” on, 252–253Hugenberg’s media empire and, 564location shooting, 550n4post-WWI paranoia, 86, 87–88post-WWII politics, 460–461, 472, 515Ufa’s 1924 visit, 219, 237n1war cinema, 21–24, 415–428, 430–452,
458–472Holocaust, 498Holy Mountain, The (Riefenstahl), 197Home from the Hill (Minnelli), 487home movies, 228–230Homunculus series (Rippert), 66”horserace,” Rancho Notorious,
251–252house and home
The Big Heat, 19–20, 372–389camera movement in M, 274–275Clash by Night, 26, 514, 515, 517–518,
520–521, 530–531, 533FL’s interior decor, 279
House by the River, 24, 25, 176, 291, 462, 494–512, 522, 526
Houseman, John, 482–483How To Succeed in Business Without Really
Trying (Swift), 375Hugenberg, Alfred, 564–565, 567
0002178495.indd 594 10/8/2014 10:52:23 AM
Index 595
Human Desire, 27–28, 37, 115, 119, 176, 517, 518, 526, 536–550
Humphries, Reynolds, 325, 455n17, 495, 499, 508
Hunte, Otto, 77, 399, 406Huppertz, Gottfried, 186–187, 192, 393
I Aim at the Stars (Thompson), 581I Confess (Hitchcock), 36iconography, 63–66, 70, 223–224ideology, M, 20, 104–106, 408Ihering, Herbert, 156n32, 567image(s)
demonic aspects, 26, 509–510FL–Hitchcock contrast, 33–41framed women, 24, 340–356, 460, 461,
462–472the Indian diptych, 485–486Metropolis, 20, 395, 396–398, 399–403new modernity, 491–492objects and things, 280–281, 295–297spectacular–operational, 119–120,
129–130surface-level attention, 16–17, 324–338terror in FL’s German works, 70–73
imaginary, the, 407–410Imitation of Life (Sirk), 320n22immigrants see exile(s)In a Lonely Place (Ray), 512incitement films (Hetzfilme), 85indexicality, 288–292Indian diptych see Tiger of Eschnapur, The;
Indian Tomb, TheIndian Tomb, The, 2, 21, 25, 66, 116, 119,
176, 238n7, 476, 477–478, 485–486, 487–488, 515
Indians see Native Americansindustrial modernity, 44–45, 47–50, 51–52industrial revolution, 557industrial society, 20, 396–398inflation, post-WWI, 81, 177Ingram, Rex, 85Inhumaine, L’ (L’Herbier), 397inscription, 291–292, 295–297Institute for Intellectual Cooperation,
84–85
intercepted communications, 69–70International Film Congress, 84–85international treaties, 79–81, 82–83, 85,
207–208interpretation, 5, 6, 76–91, 94–111intertextuality, 49intertitles, 181–185, 187–188Intolerance (Griffith), 144, 146, 253Italian-American culture, 382Italy, 531–532
Jacques, Norbert, 49Jameson, Fredric, 135–136Jannings, Emil, 87Jason, Alexander, 83, 86–87Jay, Martin, 215jazz, 102Jenkins, Stephen, 1, 325, 439, 440, 453n10Jensen, Paul M., 179, 338n2, 494Jews, 83, 110, 151–153, 192–193, 199,
201–202, 314, 427Joannides, Paul, 439–440Johnson, Bryan, 108journalism, 170–172, 173Joyce, James, 123, 450Jürgens, Curt, 581justice see law and justice
Kaes, Anton, 78, 197, 217n8, 234Kahlo, Frida, 362Kallman, Felix, 237n1Kandinsky, Wassily, 574Kaufman, Boris, 255n10Kawin, Bruce, 109Kenny, Glenn, 430, 432, 433Kepley, Vance, 440Kern, Peter, 111Kettelhut, Erich, 279, 399, 406Keynes, John Maynard, 207–208Killers, The (Siodmak), 317Kings of the Road (Wenders), 515Kisch, Egon Erwin, 80Klein-Rogge, Rudolf, 63–64, 66–67, 77, 121,
142, 444–446Klevan, Andrew, 345, 351–352, 353Klitzsch, Ludwig, 564
0002178495.indd 595 10/8/2014 10:52:24 AM
596 Index
Kojève, Alexandre, 174Kolbe, Georg, 216n4Kracauer, Siegfried, 10, 48, 52, 53–54, 66,
81–82, 95–96, 143–144, 192, 199–201, 214–216, 264–265, 283, 571, 579
Krasna, Norman, 305, 308, 312, 319n16Kravetz, Mark, 243Kriemhild’s Revenge see Nibelungen, DieKrutnik, Frank, 371Kubrick, Stanley, 576–577, 581, 582Kunstwollen, 394–399Kuntzel, Thierry, 6, 104–106Kurtz, Rudolf, 282, 293
La Cava, Gregory, 302labor, 20, 396, 397–398, 407–408, 580Lacoue-Labarthe, Philippe, 166Lambert, Gavin, 328land–water threshold, 496–497language, 424–425Lardner, Ring, Jr., 23, 458–459, 460Last Laugh, The (Murnau), 272–273Last Year at Marienbad (Resnais), 474–475,
478–479Lauffer, Ines, 90Laughton, Charles, 499law and justice
art trumps, 362lynch mobs, 227–228, 230, 301–317paradigms for Lang films, 116–118revenge and, 199, 206–207, 310You Only Live Once, 325, 326–327
Lawrence, Marc, 464Le Queux, William, 84League of Nations, 79–80, 81, 82–83, 84Leaves from Satan’s Book (Dreyer), 144Leblanc, Gérard, 388Lefebvre, Raymond, 243legends see myths, legends, and fairy talesLéger, Fernand, 396, 397Legion of Terror (Coleman), 314Leni, Paul, 87, 151Lenz, Max, 557Lessing, Theodor, 151–152letzte Mann, Der (Murnau), 272–273
Levin, David J., 178, 190Lewis, Jerry, 487Lewis, Sinclair, 301, 314Ley, Willy, 558–559, 561, 562, 563, 572, 579,
580L’Herbier, Marcel, 397liberals, 23, 460–461, 472, 564, 565, 567lighting
Beyond a Reasonable Doubt, 172–173House by the River, 498, 499–500Ministry of Fear, 450not looking of Dr. Mabuse, 47,
50–54Liliom, 2, 129, 176, 304, 321n33, 528, 529limits/thresholds, 25–26, 496–499
see also portalsLindbergh abduction, 306Lissitzky, El, 574Litvak, Anatole, 532Lloyd George, David, 207–208location shooting, 519–520, 521, 537, 538,
547, 550n4look, the, 325looking, 4–5, 6–7
Dr. Mabuse, 4, 6–7, 43–59, 114–137, 262–265, 405
FL–Hitchcock contrast, 34–41mass manipulation, 89–90see also gaze; look, the; point of view
Lorre, Peter, 310, 541, 551n7Losey, Joseph, 495Losilla, Carlos, 523Lourcelles, Jacques, 495, 508Lubitsch, Ernst, 87, 304Luce, Henry, 315Luchaire, Julien, 84–85Lukács, Georg, 213, 398Luna, Bigas, 509Luxemburg, Rosa, 310lynchings, 311–313, 314
see also Fury; mob justice
M, 3, 4–5, 6, 14, 15, 64, 65, 66, 69, 70, 71–73, 94–111, 116, 117, 118, 252, 260, 270–276, 289, 292, 293, 296, 310, 416, 418, 490, 541, 579
0002178495.indd 596 10/8/2014 10:52:24 AM
Index 597
Mabuse films see Dr. Mabuse, der Spieler; Testament of Dr. Mabuse, The; Thousand Eyes of Dr. Mabuse, The
McArthur, Colin, 324, 373, 379, 382, 386, 387
McElhaney, Joe, 45, 54, 124–125, 127, 288, 430, 446, 470
McGilligan, Patrick, 186, 191, 193, 222, 319n10, 341, 430, 433, 459, 464, 494–495, 501, 510, 524–526, 538
McGivern, William, 372, 384, 388, 389n1machines, 396–397
see also science and technologyMacMahonists, 495madness, 116–117, 282–283Maggi, Luigi, 144Magritte, René, 446Mahler, Gustav, 152, 153maiden–death motif, 148–149Malick, Terrence, 496Maltby, Richard, 86Maltz, Albert, 23, 458–459, 460Man Hunt, 17, 21–22, 36–37, 116, 176, 340,
341, 417, 420–423, 428, 432Man with a Movie Camera (Vertov), 121–123,
123–124Man Who Knew Too Much, The (Hitchcock,
1934), 3Man Who Shot Liberty Valance, The (Ford),
480, 486–487Mankiewicz, Joseph L., 304, 305Mann, Erika and Klaus, 318n1Mann, Thomas, 145, 305Manpower (Walsh), 526March of Time documentaries, 315marche des machines, La (Deslaw), 396, 397Margulies, Ivone, 551n5Marnie (Hitchcock), 36, 281marriage
Clash by Night, 529, 530–531, 532–533eroticized, 376, 378
Martin, Adrian, 430, 439, 440, 452n1, 453n2Martin, Karl Heinz, 398masculinity, 197masks, 57, 120, 279, 294–295mass culture, 87–90, 91, 510–512
mass-mediated modernity, 47–48, 49–50, 51–52
Masson, Alain, 495, 505mathematics, 94–95, 101Matthews, J. B., 318n4Maurus, Gerda, 77Mauss, Marcel, 65May, Elaine Tyler, 376May, Joe, 144, 304, 476May, Karl, 12, 219–220, 221–227, 237May, Lary, 421Mayer, L. B., 311, 321n28means–ends logic, 199–200Meinecke, Friedrich, 155n8Méliès, Georges, 554, 568, 569melodrama
Clash by Night, 26, 520, 524–526Human Desire, 27, 538–539
memorialization culture, 197–198, 202–203men, gendered spaces, 371–373, 374–375,
376–378, 383–385, 530–531Mépris, Le (Godard), 13, 161, 162, 252–253,
475, 515Mercator, G., 558Merleau-Ponty, Maurice, 369messengers, 69–70metaphysics of finitude, 142–154Metro-Goldwyn-Mayer (MGM), 16, 302,
303, 304, 314Metropolis, 2, 3, 10, 14, 20, 64, 67, 69, 77, 83,
89, 118–119, 219, 260–262, 265–268, 269–270, 273, 283, 288, 291, 296, 310, 392–410, 416, 443, 475, 555–556, 571, 581–582
Metz, Christian, 99–102, 103–104, 106, 111
Miéville, Anne-Marie, 125Milland, Ray, 433, 434, 439Miller, Arthur, 453n3Miller, Seton I., 22, 430, 431, 432Ministry of Fear, 21, 22–23, 36, 176, 417,
428, 430–452Minnelli, Vincente, 487Miracle Mile (De Jarnatt), 449mirror effects, 18–19, 358–370mirrors, 24, 462–469, 470–472
0002178495.indd 597 10/8/2014 10:52:24 AM
598 Index
mise-en-scène, 16–17, 23Beyond a Reasonable Doubt, 163–164The Big Heat, 372–374Clash by Night, 518–521Die Nibelungen, 200–201, 204FL’s surface-level attention, 324–338framed images of women, 340–356,
462–472House by the River, 500–503Metropolis, 20, 394–400, 405–407not looking of Dr. Mabuse, 47, 50–54see also lighting
Mitchell, W. J. T., 280, 287Mitry, Jean, 100, 101mob justice, 16, 227–228, 229–230, 301–317Modern Times (Chaplin), 398modernism
aerial photography, 574FL’s American films, 17, 323–338hidden messages, 368Der müde Tod, 8, 141–154objects and things, 15, 286, 290–292Playboy, 383strategies of re-enchantment, 450see also modernity
modernity, 24–25, 27artist as sovereign of, 366FL’s last five films, 474–492Human Desire, 28, 542–543metaphorical homelessness, 371–372Die Nibelungen, 195, 211–212not looking of Dr. Mabuse, 44–45,
47–50, 51–52, 59sensation fiction, 220–221, 224Spies, 83Woman in the Moon, 28, 558–559,
568–569, 570–573Zola, 542–543
modernization, post-WWI, 81–82Molnar, Ferenc, 528Mondrian, Piet, 574Monroe, Marilyn, 517montage
Clash by Night, 521–522M, 71–72, 94, 95, 98–106, 108–110, 271Le Mépris, 253
Metropolis, 402–403Rancho Notorious, 251–252, 253re-vision of Dr. Mabuse, 121–122,
123–124, 125, 126–128, 130–133Spies, 286–287Woman in the Moon, 575
monumentalization, 398–399moon, the, 568–569
see also Woman in the MoonMoonfleet, 21, 24–25, 119, 176, 475, 476–481,
482–483, 487, 488–489, 549morality, 204–208, 211, 212–214, 507Moran, Richard, 266–267Morris, Meaghan, 496Morrow, Douglas, 162, 166Moszkowski, Alexander, 558, 559mother figures, 409–410Moullet, Luc, 533Mourlet, Michel, 327, 342–343, 495, 518,
549, 550mourning, 147–149müde Tod, Der, 2, 3, 8, 66, 115, 141–154,
259, 279, 282–283, 286, 287, 292–293, 297, 416, 528
Mueller, Adeline, 178–179, 186, 192Müllner, Josef, 198Mulvey, Laura, 146, 263murder
FL–Hitchcock contrast, 36–39FL myths, 358Human Desire/La Bête humaine, 540–541,
543–544images of normality, 171–172M, 94–99, 103–110, 271, 541westerns, 246–249While the City Sleeps, 483–485, 489see also mob justice; specific films
Murnau, F. W., 13–14, 87, 144, 162, 260, 272–273, 574
musicHangmen Also Die!, 425–426House by the River, 505Metropolis, 393Ministry of Fear, 438, 439Die Nibelungen, 186–187, 192Oriental motifs, 152, 153
0002178495.indd 598 10/8/2014 10:52:24 AM
Index 599
musical form, M, 101–104, 107Musuraca, Nicholas, 550n3Muth, Jon J., 108mythic violence, 199myths, legends, and fairy tales, 7–12
autobiographical, 358–359blood and soil, 208–210FL as mythical figure, 9, 161–162,
164–165Fury, 16, 227–228, 308–310Der müde Tod, 146–148, 150, 154n2,
156n26Die Nibelungen, 9–11, 176–193, 195–204,
210–212, 214–216, 309westerns, 12–13, 219–237, 242–254
Naremore, James, 345, 379, 452n1narrative time, 145–147nation-building, 235–237Native Americans, 223, 226–228, 234–236,
238n9naturalism, Zola, 544–545, 548naturalist melodrama, 526Nazism
anti-Nazi war films, 21–22, 417–428, 430–452, 458–459
burning of the Reichstag, 255–256exiles from, 301, 302, 303–305, 316–317,
320n22, 417, 428film as witness, 315, 316FL’s 1933 flight from, 193, 304, 358, 416,
427, 433, 437Hollywood studios, 314, 427–428Holocaust resonances, 498Hugenberg, 564mass geometry, 571mob violence, 312–313M’s confession scene, 110, 111Die Nibelungen, 10–11, 192–193, 198,
201–202, 204, 214–215post-WWI paranoia, 81, 82–83postwar modernity, 479representations of terror, 64, 65, 67–68rocketry, 555, 560, 563, 572, 580–581The Thousand Eyes of Dr. Mabuse, 135
Nebel, Rudolf, 563
negativity, 325–329Neher, Erick, 177–178Nelson, Brian, 542–543neorealism, 538, 539, 551n5new historicism, 106New Objectivity, 283–285, 286–287,
288–289New York, 219news reportage, 230–232newspapers, 171–172newsreel witnessing, 315–317Nibelungen, Die, 2, 9–11, 14, 66, 176–193,
195–216, 259, 260, 265, 279, 282, 289, 293–294, 309, 397, 398–399, 416, 423
Nichols, Bill, 444Nichols, Dudley, 365–366Nichols, Mike, 454n13Nietzsche, Friedrich, 143, 204, 205, 206,
212–213, 405, 411n3Night of the Hunter, The (Laughton), 499Nogueira, Rui, 243North by Northwest (Hitchcock), 34, 36, 39Nugent, Frank S., 320n23Numéro Deux (Godard), 131
Oberth, Hermann, 559–560, 561, 562–564, 568, 579, 581
object-icons, 40object-stain, 280–281, 283objects and things, 14–15, 279–297
Clash by Night, 528–529defining camera movements, 14,
260–269frames of performance, 345–346, 352,
355–356hands, 15, 283, 285–288indexicality, 288–292inscribed, 291–292, 295–297object–thing distinction, 280–281pattern and abstraction, 292–295visual arts, 281–285, 292–295visual organization, 20, 396–399Woman in the Moon, 573
obsessions of FL, 22–23occult, the, 434–435
0002178495.indd 599 10/8/2014 10:52:24 AM
600 Index
Odets, Clifford, 516–517, 519, 523–524, 528, 530
Olivier, Laurence, 190–191Ollier, Claude, 243Olympia (Riefenstahl), 197omission, art of, 18On connaît la chanson (Resnais), 41opera, 9–10, 176–193, 309operational image, 119–120, 129–130Ophuls, Max, 453n10Oriental motifs, 152, 153ornamental–human link, 201, 213–214, 215Osgerby, Bill, 383O’Shaughnessy, Martin, 546Ossessione (Visconti), 551n5Ott, Frederick, 430Oudart, Jean-Pierre, 168
painting(s), 340, 342–351, 359–370, 462–463see also art(s)
Paisà (Rossellini), 532, 539Paldam, Camilla Skovbjerg, 450Pander, Hans, 566Paramount Pictures, 431paratexts, 433Parsons, Harriet, 534n1Party Girl (Ray), 487Pascal, Blaise, 579Patalas, Enno, 393patterns, 172, 273, 292–295, 570–571,
572–573Pearl of Love, The, 229performance
Bennett’s frame of, 17–18, 340–356as hypnosis, 89
Perrin, Constance, 383perversity, 506–508philosophy
Der müde Tod as work of, 8, 141–154ressentiment and revenge, 204–207,
212–213photogénies (Epstein), 396photogénie mécanique, La (Grémillon), 396photographs
as caesuras, 169crisis of historicism, 143–144
framed images, 24, 464, 465–466, 472objects and things, 283–284, 288–289,
291Picasso, Pablo, 446, 447Pickford, Mary, 219pictorialism, 295–297Pidgeon, Walter, 420Pinthus, Kurt, 154n3Piscator, Erwin, 399Place Among the Living, A (Ruiz), 509Place, Janey, 376Plainsman, The (DeMille), 235plows, 249–250poetry
Beyond a Reasonable Doubt, 9, 161–162, 166–167
Das Nibelungenlied, 176–181, 185, 187, 188, 189–190, 191
objects, 284Zola, 548
point of view, 129, 262–265, 266–267, 268–269, 271, 363–364, 435–436, 468–469
Pol, Heinz, 95–96politics
Clash by Night, 26exiles, 26, 301–302, 308, 311–312,
315–317, 515post-WWI paranoia, 5, 76–91post-WWII tensions, 23–24, 458,
460–461, 472, 515representations of terror, 5Woman in the Moon, 29, 564, 565, 567
Pomerance, Murray, 324, 348Pommer, Erich, 142, 177, 237n1, 304portals, 136–137, 141, 144, 438–439,
449–450, 482–483power, 4–5
authorship struggles, 431gender dynamics, 463–467, 470–471, 472gendered spaces, 374–375, 384–385Heydrich’s language of, 424–425not looking of Dr. Mabuse, 43, 44–47,
48, 54, 56, 57–59paradigms for Lang films, 115–120post-WWI America, 81
0002178495.indd 600 10/8/2014 10:52:24 AM
Index 601
post-WWI balance, 91representations of terror, 65, 66,
266–267technology and, 29, 556–557, 571–572
Power, Tyrone, 415Preminger, Otto, 487, 495private–public space, 19–20, 371–389, 485Prometheus (Scott), 577propaganda
Ministry of Fear, 432–433Nazi use of M’s confession scene, 110Die Nibelungen foreshadows Nazi,
192–193, 201–202post-WWI, 85, 86–87spectacular image, 119
prosthetic technology, 581–582Protazanov, Yakov, 398Proust, Marcel, 358Providence (Resnais), 509Psycho (Hitchcock), 39, 169, 474–475, 478,
486–487, 497–498psychological/psychoanalytical, the
The Big Heat, 377–378, 381camera movement, 269Clash by Night, 524–526death, 146FL–Hitchcock contrast, 36–38House by the River, 505–506Human Desire/La Bête humaine,
543–544mass manipulation, 89–90Metropolis, 401, 402Ministry of Fear, 439, 443, 444–446,
449–450, 451mourning, 147M’s murderer, 105–106not looking of Dr. Mabuse, 57–58, 59railways, 552n10Rancho Notorious, 249–250thresholds, 496–497
public–private space, 19–20, 371–389, 485
publicity, 38–39, 555, 562–564pulp fiction, 12, 219–220, 221–227, 237pure negativity, 325–329Pynchon, Thomas, 554, 581
queering of space, 20, 379–389
racism, 301, 311–312, 320n22railways/trains, 28, 537, 543–544, 546, 547,
552n10, 577Rancho Notorious, 12–13, 21, 170, 176,
238n3, 242–254, 418, 549Rancière, Jacques, 253, 255n9rape, 246–249, 254rationalization, post-WWI, 81–82, 83,
90–91Ray, Nicholas, 131, 487, 512, 551n4Real, the, Things and, 280–281realism
Clash by Night, 519–520, 538FL–Hitchcock contrast, 3–4, 35, 36–38Human Desire/La Bête humaine, 27–28,
537–539, 545, 548realist fantasy, 443–452Rebecca (Hitchcock), 3Redgrave, Michael, 342, 352, 354Redl, Alfred, 80refugees see exile(s)Reinhardt, Gottfried, 304Reinhardt, Max, 304, 305, 399religious discourse, 150–151Reluctant Debutante, The (Minnelli), 487Renger-Patzsch, Albert, 284Renoir, Jean, 27, 131, 275, 346–347,
360–361, 478, 489, 496, 536, 539–541, 545–548, 551n5
representation, 479–482Beyond a Reasonable Doubt, 166–168,
169–170the object-stain, 280–281
Resnais, Alain, 41, 474, 478–479, 489, 509ressentiment, 11, 201, 204–213restoration, Metropolis, 392–394Return of Frank James, The, 12, 117,
230–234, 256n14, 519revenge, 10–11, 195–216, 232–233, 244,
252–253, 309–310Rhine, struggles for, 198Richter, Hans, 281Ricoeur, Paul, 146Riefenstahl, Leni, 192, 197, 571, 574
0002178495.indd 601 10/8/2014 10:52:24 AM
602 Index
Riegl, Alois, 293–294Riess, Curt, 359Rilke, Rainer Maria, 284, 288Rimbaud, Arthur, 492n8Ring cycle (Wagner), 9–10, 176–193, 309Rio Bravo (Hawks), 487Rippert, Otto, 66River, The (Renoir), 478Rivera, Diego, 362rivers, 496–497, 499–500Rivette, Jacques, 8–9, 16, 162, 163, 164–165,
166, 169–170, 174, 322, 326, 476, 539, 549, 550
Robinson, Edward G., 342, 344, 347, 349, 359, 360, 362, 419, 528
rocketry, 28–29, 554–555, 558–564, 565–567, 568, 569, 572, 574–581
Rodowick, David, 109Roh, Franz, 283Rohmer, Eric, 476romanticism, 148–149, 153, 557–559Ropars-Wuilleumier, Marie, 6, 105–106Rope (Hitchcock), 36Rosenzweig, Franz, 145Rossellini, Roberto, 489, 532, 533, 539,
551n6Rotha, Paul, 191Rousseau, Henri Julien Félix, 362, 365Ruiz, Raúl, 496, 509Rules of the Game (Renoir), 546–547, 548Run Lola Run (Tykwer), 146Rushdie, Salman, 300Russell, Karl, 198Ruttmann, Walther, 88, 283, 293, 522, 571Ryan, Marie-Laure, 109
Saada, Nicolas, 431, 495Saga of Anatahan, The (Sternberg), 478Sahl, Hans, 565Same Old Song (Resnais), 41Satan (Murnau), 144Satana (Maggi), 144Savage Innocents, The (Ray), 487Scandal in Paris, A (Sirk), 368Scarlet Street, 17–19, 24, 37, 117, 119, 176,
249, 317, 328, 340, 341, 342,
346–351, 359–370, 418, 419, 462, 475, 510, 526, 528, 529
Scharff, Stefan, 440Scheler, Max, 11, 204–206, 212Schelling, F. W. J. von, 164Scherchevsky, Alexander, 563Schivelbusch, Wolfgang, 559Schmitt, Carl, 79–80, 81, 199Schünzel, Reinhard, 425science and technology
crisis of historicism, 143–144Human Desire/La Bête humaine, 28, 543,
544–545Méliès’s moon film, 569Ministry of Fear, 434–435prosthetics, 581–582representations of terror, 69Spies, 83telephones, 378V-2 missiles, 580–581Verne’s moon voyages, 568Woman in the Moon, 28–29, 554–555,
556–564, 565–567, 569, 570–582Scorsese, Martin, 449Scott, Ridley, 577, 579Sea Hawk, The (Curtiz), 431Seabury, William Marston, 85secrecy, Metropolis, 408–410Secret Beyond the Door, 3, 17–18, 24, 25, 169,
176, 340, 341, 342, 351–356, 475, 522
secret society, 64–65Sedgwick, Eve Kosofsky, 387Sellers, Peter, 581Selznick, David O., 304semiotic analysis
Beyond a Reasonable Doubt, 165–166, 170–171, 172
M, 99–102, 103–106sensation fiction/film, 220–221, 577serial films, 48–50, 66–68, 69, 73sexual desire
eroticized marriages, 376, 378framed images of women, 24, 340–356,
460, 461, 462–472synthetic visualization, 401
0002178495.indd 602 10/8/2014 10:52:24 AM
Index 603
thresholds, 497–499sexual urges, 540–541, 543–544Shadow of a Doubt (Hitchcock), 37, 41Shallcross, R. E., 318n4Sharp, Henry, 444, 450Shaw, George Bernard, 181Shaw, Tony, 91shots/reverse shots, 57–58, 168–169, 489,
491–492Sidney, Sylvia, 16, 223, 323, 329Siegel, Don, 190Siegfried see Nibelungen, DieSiegfried, Wilhelm, 85Sievert, Ludwig, 178signs, analysis of see semiotic analysisSilverman, Kaja, 424Simmon, Scott, 434Simon, Michel, 346, 360Singer, Ben, 558Siodmak, Robert, 305, 317Sirk, Douglas, 320n22, 368, 514–515, 516,
520Skorecki, Louis, 38–39sleep, 576–577Smedley, Nick, 230, 238n12social engagement, directors’, 17, 324–338social mise-en-scène, 500social mobility, 382–383, 385–387social problem films, 314
see also Furysocial reality see realismsocial systems, 97–99, 107, 115–120Society for Space Travel (VfR), 560,
579–580Soigne ta droite (Godard), 366Some Came Running (Minnelli), 487Somlo, Josef, 77sons see fathers and sonssound, Hangmen Also Die!, 425–426sound(s), 4
audio-visual montage of M, 71–72, 94, 95, 98–106, 108–110, 271
camera movement and, 271–272, 274connecting objects, 291House by the River, 26, 503–505and image in Fury, 313
Ministry of Fear, 434not looking of Dr. Mabuse, 46–47representations of terror, 73Woman in the Moon and, 562see also voice
Soviet Union, Arcos affair, 82space flight see rocketryspace(s)
The Big Heat, 19–20, 372–389camera movement in M, 273–276Clash by Night, 26–27, 520–521, 530, 531death permeating, 293Metropolis, 20, 395–396, 397–398,
405–407Ministry of Fear, 440–442negative, 325–326silence of, 579The Thousand Eyes of Dr. Mabuse,
136–137While the City Sleeps, 485Woman in the Moon, 570–573
Spain, Daphne, 374–375Spangenberg, Gustav, 147spectacle, as hypnosis, 89spectacular image, 119, 129–130spectators see viewersspeeches, Die Nibelungen, 188–189Spellbound (Hitchcock), 34, 36Sperling, Milton, 458–459Spiders, 2, 66, 69, 223–224, 259, 285–286Spies (Spione), 2, 4–5, 29, 63, 64, 67, 69, 70,
71, 76–91, 119, 120, 121–124, 126, 127, 176, 259, 260, 268–269, 279, 286–289, 295–296, 495
spiritualist discourse, 150–151spiritualization of technology, 558–559Spock, Dr. Benjamin, 377–378Spring, Katherine, 449spy (espionage) genre, 3, 4–5, 29
see also specific filmsSpy Who Loved Me, The, 190stab-in-the-back legend, 198–199, 201Stanwyck, Barbara, 514, 515, 517, 520, 529state paradigms, 115–120state sovereignty, Spies, 78–80, 81state terror, 63–73, 114–115
0002178495.indd 603 10/8/2014 10:52:24 AM
604 Index
Steinbeck, John, 518–519, 521Steinberg, Leo, 254n5Stern, Lesley, 426Sternberg, Josef von, 478Sternberg, Meir, 362Stiasny, Philipp, 80Stiles, Victoria M., 176–177, 189, 191–192still photographs see photographsStraβe, Die (Grune), 579Stranger, The (Welles), 321n35strangers, 152–153Strangers on a Train (Hitchcock), 38Strasberg, Lee, 516Stromboli, terra di dio (Rossellini), 532, 533structural analysis, M, 6, 97, 99–106, 110studios, Hollywood, 305, 314, 317, 427Sunset Boulevard (Wilder), 317surface details, 16–17, 324–338surrealism, 23, 26, 446–452, 498, 499–500surveillance, 7, 77, 114–115, 119–120, 129Sweet Exorcist (Costa), 137Swift, David, 375Syberberg, Hans-Jürgen, 111symbolic allusion, 254n5symbolization
Clash by Night, 524–526, 528–529memorialization, 202–203Metropolis, 20, 405–410Der müde Tod, 141, 148, 154n2, 528see also semiotic analysis
taste, 510–512Tatar, Maria, 106, 107Tavernier, Bertrand, 495, 496, 500, 504Téchiné, André, 500, 501technology see science and technologytelegraph, Western Union, 236–237telephones, 378television, 25, 40–41, 131, 134, 489–491temporality see timeTenebrae (Argento), 509Teresa (Zinnemann), 532terror, 35, 63–73, 114–115, 265–268,
580–581Testament of Dr. Mabuse, The, 2, 4, 43–59,
64, 65, 66, 67–69, 70, 120, 124–125,
126, 127, 260, 271–272, 279, 282, 290–292, 293, 294–295, 296–297, 301, 416, 476, 529
Testament du Docteur Cordelier, Le (Renoir), 131, 132
textual analysis, 104–106Thalberg, Irving, 304thematic motivation, 442–443Thèmes et variations (Dulac), 396They Won’t Forget (LeRoy), 314things see objects and things39 Steps, The (Hitchcock), 29n2Thomson, David, 446, 449, 450Thousand Eyes of Dr. Mabuse, The, 2, 6–7,
25, 44, 66, 67, 69–70, 114–115, 120, 126–137, 470, 474–475, 476, 477–478, 479, 487, 490, 491–492, 515
thresholds, 25–26, 496–499see also portals
Through a Glass Darkly (Bergman), 474–475Tiger of Eschnapur, The, 2, 21, 25, 116, 176,
476, 477–478, 485–486, 487–488, 515, 552n12
timeClash by Night, 27, 530, 531Cloak and Dagger, 23–24, 463–466clocks, 22–23, 437–443, 530FL–Hitchcock contrast, 35–38FL’s last five films, 25, 475–476Ministry of Fear, 440–442Der müde Tod, 145–147, 148, 150–151, 153Die Nibelungen, 11, 210–214objects and death and, 280, 283Rancho Notorious, 13, 243–244, 249–254revenge, 210–214Woman in the Moon, 576
Time Regained (Ruiz), 496To Have and Have Not (Hawks), 190Tokyo-Ga (Wenders), 569Toni (Renoir), 548, 551n5Torn Curtain (Hitchcock), 37–38total cinema, 394–399, 403Töteberg, Michael, 562Toth, Peter T., 583n9Tournachon, Gaspard-Félix, 569
0002178495.indd 604 10/8/2014 10:52:24 AM
Index 605
Tourneur, Jacques, 504Towne, Gene, 329Tracy, Spencer, 15, 302, 310, 319n7Trade Winds (Garnett), 341tragic vision, 7–8, 9, 147–148, 163–174trains/railways, 28, 537, 543–544, 546, 547,
552n10, 577transmitted communications, 69–70, 71trash, 511Trauerspiel, 147–148trauma, cinema of, 36, 39trees, 202–203Triumph of the Will (Riefenstahl), 192, 574Troeltsch, Ernst, 143Truffaut, François, 3, 161, 330–331, 476,
488, 489Tsiolkovsky, Konstantin, 568Twardowski, Hans Heinrich von, 424Twentieth Century-Fox, 415Two English Girls (Truffaut), 4882001: A Space Odyssey (Kubrick), 576–577,
581Tykwer, Tom, 146
Übermensch, 411n3Ufa, 77, 83, 85, 87, 177, 186, 191–192, 197,
201, 216, 219, 237n1, 392, 393, 555, 561–565, 579
Umlauff, Heinrich, 142, 216n1Under Capricorn (Hitchcock), 36Union Pacific (DeMille), 235United States Pictures, 458, 470Urwand, Ben, 427USA see America
V-2 missiles, 580–581Valier, Max, 560vampirism, literary, 509–510Van Gogh, Vincent, 282vases, 295Veritas vincit (May), 144Verne, Jules, 568, 569Versailles Treaty, 79–80, 82–83, 207–208Vertigo (Hitchcock), 36, 39–40, 169Vertov, Dziga, 121–123, 123–124, 396video games, 422–423
video monitors, 25, 135, 490Vidor, King, 375Vier um die Frau see Four Around a Womanviewers
Beyond a Reasonable Doubt, 162, 163–164, 165–166, 167–169, 170–171, 173–174, 482
camera movement and, 263–265, 266–267, 269, 271
Cloak and Dagger, 468–469frames of performance, 348House by the River, 506–508Moonfleet, 480–481, 482–483objects and things, 297Scarlet Street, 363–364The Thousand Eyes of Dr. Mabuse,
126–135use of deixis in Die Nibelungen, 10,
180–185war films, 421While the City Sleeps, 483–484
Vigo, Jean, 255n10violence, 21–22
Clash by Night, 528FL–Hitchcock contrast, 36–39, 40–41Human Desire/La Bête humaine, 540–541,
543–544M, 94–99, 103–106, 541mob justice, 16, 227–228, 230, 301–317paradigms for Lang films, 116–117post-WWI conflict, 90re-vision of Dr. Mabuse, 116, 121–122revenge, 199, 207, 208–210, 215–216,
309–310war films, 22, 24, 417–418, 464westerns, 222–224, 226–237, 246–249,
254see also terror
Virilio, Paul, 419Visconti, Luchino, 551n5vision, 2–3, 4–5, 29
Cloak and Dagger, 23–24, 462–463, 466–469
Dr. Mabuse, 4, 6–7, 43–59, 114–137, 262–265, 405
FL–Hitchcock contrast, 34–41
0002178495.indd 605 10/8/2014 10:52:24 AM
606 Index
vision (cont’d)the Indian diptych, 485Metropolis, 401, 403–405the moon, 569Moonfleet, 478, 479–481tragic, 7–8, 9, 147–148, 163–174While the City Sleeps, 483–484, 485Woman in the Moon, 573see also point of view
visualization, 20, 395–399, 400–403voice, 346, 348, 350, 351–354, 355–356von Harbou, Horst, 145, 149von Harbou, Thea, 9–10, 77, 142, 176,
178–179, 187–188, 191, 193, 204, 279, 358, 411n3, 476, 556, 559, 560–561, 564–565, 567
Vormittagsspuk (Richter), 281Voyages dans la lune (Méliès), 554, 569
Wagner, Cosima, 177–178Wagner, Jean, 243Wagner, Richard, 9–10, 176–193Wailing Wall, 145Wald, Jerry, 27, 516, 517, 526, 538, 539,
550n4Walsh, Raoul, 424, 495, 526Walton, Kendall, 465Wandering Shadow, The, 2, 515, 519, 533Wanger, Walter, 17, 329, 341war
as means of politics, 77–78rationalization, 81–82, 90–91see also Cold War; World War I; World
War IIwar films, 21–24, 76–77, 415–428, 430–452,
458–472see also specific films
Warminski, Andrzej, 167Warner Brothers, 314, 321n31water, 25–27, 475, 477, 480, 484, 496–497,
499–500, 517, 522–523, 524–526, 531, 532
We Can’t Go Home Again (Ray), 131Weber, Max, 143Weill, Kurt, 521
Weimar Germanycrisis of historicism, 8, 142–154FL’s post-WWII films and, 416historical reception, 5–6memorialization, 197–198, 202–203Die Nibelungen as national epic, 9–10,
176–193, 210, 214Die Nibelungen and revenge, 11, 197–198,
199–202, 203–206, 207–208, 214–216
not looking of Dr. Mabuse, 4, 44, 45, 48–50, 52–54, 58, 59
postwar defiance, 197–199postwar paranoia, 5, 76–91postwar treaties, 79–81, 82–83, 85,
207–208power, 5Rancho Notorious, 252, 253representations of terror, 63–69re-vision of Dr. Mabuse, 114rocketry, 554, 555, 558, 559–564,
565–567, 572, 579–580screening of Metropolis, 392, 393sociological nature of M, 97, 106, 292Woman in the Moon, 554, 555, 556–557,
558–567, 572Welles, Orson, 190–191, 321n35Wells Fargo (Lloyd), 235Welsh, James M., 453n4Wenders, Wim, 514–515, 569Western Union, 12, 176, 233–237, 519westerns, 12–13, 219–237, 242–254
see also specific filmsWhile the City Sleeps, 25, 41, 118, 119, 128,
171, 176, 475, 477–478, 483–485, 487, 488–489, 490, 549
Whitehouse, Roger, 544Widdig, Bernd, 58Wiene, Robert, 282, 398, 455n19Wilder, Billy, 305, 317, 375Williams, Linda, 213Wilson, George M., 263, 325Wilson, Woodrow, 207–208Wind Across the Everglades (Ray), 487Winnetou saga (May), 220, 221, 223, 224–227witness, film as, 315–317
0002178495.indd 606 10/8/2014 10:52:24 AM
Index 607
Woman in the Moon, 2, 28, 176, 260, 341, 554–582
Woman in the Window, The, 17–18, 24, 116, 169, 176, 328, 340, 342, 343–346, 359–360, 443, 465, 490, 528, 529
womenframed images, 24, 340–356, 460, 461,
462–472gendered spaces, 371–373, 374–375,
376–378, 383–385, 530–531woman-on-top “horserace,” 251–254
Wood, Robin, 436words, objectness, 295–297work spaces, 374–375, 378, 382, 383–384,
388–389, 485, 521World War I, 5
future-war fiction, 84match superstition, 363, 419memorialization culture, 197–198,
202–203Die Nibelungen as postwar national epic,
9–10, 176–193, 214Die Nibelungen and postwar revenge, 11,
197–198, 199–202, 203–206, 207–208, 214–216
postwar crisis of historicism, 8, 142–154postwar defiance, 197–199postwar paranoia, 5, 76–91postwar treaties, 79–81, 82–83, 85,
207–208post-WWII films and, 416
reparations, 207–208transformation of warfare, 419
World War IIHolocaust resonances, 498postwar conceptions of home, 19–20,
26, 372–389, 518, 520–521, 530–531postwar disenchantment, 7, 114postwar exiles, 26–27, 515, 518, 532postwar France, 24–25, 476–477,
486–487postwar German identity, 514–515postwar politics, 23–24, 458–459,
460–464, 472, 515rocketry, 554, 555, 563, 580–581war films, 21–24, 415–428, 430–452,
458–472worldviews, 149–151Worringer, Wilhelm, 293–294writing, 295–297, 509Wrong Man, The (Hitchcock), 36Wundkanal (Harlan), 131
You and Me, 16, 116, 130, 328, 521, 522You Only Live Once, 16–17, 117, 323–338, 529
Zanuck, Darryl, 238n12, 239n15Zinnemann, Fred, 532Žižek, Slavoj, 280, 283, 285Zola, Émile, 27–28, 526, 536, 539–545, 546,
547, 548, 552n10, 552n15Zweig, Stefan, 88
0002178495.indd 607 10/8/2014 10:52:24 AM