Fritz Lang:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles

Articles and Books on Individual films
Movies by Director videography for works of Lang in MRC

Books & Videos

Armour, Robert A.
Fritz Lang / Robert A. Armour. Boston; Twayne, 1978, t.p. 1977. Series title: Twayne's theatrical arts series.
Main PN1998 .A3L3556
Moffitt PN1998.A3L3556

Bogdanovich, Peter
Fritz Lang in America. London, Studio Vista, 1967 [i.e. 1968]. Series title: Movie paperbacks.
Main PN1998 A3 L36 B6

Bogdanovich, Peter
"Fritz Lang." In: Who the devil made it / Peter Bogdanovich. 1st ed. New York : Alfred A. Knopf : Distributed by Random House, 1997.
Main Stack PN1995.9.P7.B58 1997
Moffitt PN1995.9.P7.B58 1997

Brook, Vincent.
"The Father of Film Noir: Fritz Lang." In: Driven to darkness : Jewish émigré directors and the rise of film noir / Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2009.
Main (Gardner) Stacks PN1995.9.F54 B76 2009

Brook, Vincent.
"Fritz Lang in Hollywood." In: Driven to darkness : Jewish émigré directors and the rise of film noir / Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2009.
Main (Gardner) Stacks PN1995.9.F54 B76 2009

Burch, Noel
"Fritz Lang: German period." In: In and out of synch: the awakening of a cine-dreamer / Noel Burch; translated by Ben Brewster. p. p. 3-31 London: Scolar; 1991.
Main Stack PN1993.5.U6.B87 1991

Ciment, Michel
Fritz Lang: le meurtre et la loi [Paris]: Gallimard, c2003.
MAIN: PN1998.A3 L3582 2003

Courtade, Francis.
Fritz Lang / Francis Courtade.<1963> Paris: E. Losfeld, 1963.
Main Stack PN1998.A3; L35563 1963 Storage Info: B 2 801 881

Eisner, Lotte H.
Fritz Lang / by Lotte H. Eisner; [translated by Gertrud Mander and edited by David Robinson]. New York; Oxford University Press, 1977, c1976.
Main PN1998.A3 L357713 1977
Moffitt PN1998.A3 L357

"Fritz Lang." In: Conversations with the great moviemakers of Hollywood's golden age at the American Film Institute / edited and with an introduction by George Stevens, Jr. Edition 1st ed. New York : A. A. Knopf, 2006.
Main Stack PN1998.2.A45 2006
PFA PN1998.2.A45 2006

Fritz Lang 2000
Edited by Robert Haller. New York : Anthology Film Archives, [2000]
Pacific Film Archive PN1998.3.L35 F735 2000
Contents: As strong as death : revisiting Fritz Lang / by Robert A. Haller -- Interview : Joseph Ruttenberg -- Interview : Fritz Lang remembers / by Gene D. Phillips -- Fritz Lang's common denominator / by Jerzy Toeplitz -- Fritz Lang recollections/tributes / by Hans-Jurgen Syberberg, Kenneth Anger, Sylvia Sidney, Paul Falkenberg -- Learning from Lang / by Martin Scorsese -- Fritz Lang to John Abbott -- Fritz Lang's blue martini / by Charlotte Chandler -- My interview with Fritz Lang / by Jonas Mekas -- Fritz Lang : lost and found / by Robert Haller -- Fritz Lang's third space / by Bart Testa -- Fritz Lang's Indian dances / by Amy Greenfield -- Gnostic Lang / by R. Bruce Elder -- Lang, Godard and a question of contempt / by Bill Nichols -- Los Angeles, Fritz Lang, and the golden hour / by Jeff Perkins.

Fritz Lang: circle of destiny[Videorecording>
[produced by] Cine Cinefil, Kanpai Productions, Cine Classics; produced by Jorge Dana. Chatsworth, Calif.: Image Entertainment, Inc., 2001.
From M to Rancho Notorious, from Metropolis to Moonfleet, the films of Fritz Lang are part of the history of cinema. The first phase of his career was set in Germany, where he returned twenty-five years later to shoot his last three films. It was during this early German period that the director developed his inimitable directorial style. Now those who know the man and his work best reveal the secrets behind his craft. 1998. 54 min.
Media CenterDVD 839

Fritz Lang
[mit Beitragen von Frieda Grafe ... [et al.]]; traduit de l'allemand par Claude Porcell; recherches iconographiques Luli Barzman. Paris: Rivages, 1985.
Main PN1998.A3; L358131 1985

Fritz Lang
Mit Beitragen von Frieda Grafe ... [et al.]. Munchen: C. Hanser, 1976.
Main Stack PN1998.A3; L3581 1976

Fritz Lang: Leben und Werk, Bilder und Dokumente / herausgegeben von Rolf Aurich, Wolfgang Jacobsen und Cornelius Schnauber, unter Mitarbeit von Nicole Brunnhuber und Gabriele Jatho = Fritz Lang: his life and work, photographs and documents
Edited by Rolf Aurich, Wolfgang Jacobsen and Cornelius Schnauber, in collaboration with Nicole Brunnhuber und Gabriele Jatho;[englische Ubersetzungen, Robin Benson ... et al.; franzosische Version, Cecile Bonnard]. Berlin: Jovis, 2001.
Main Stack PN1998.3.L36; F76 2001

Fritz Lang, the Image and the Look
Edited by Stephen Jenkins. London: BFI Pub., 1981.
Main PN1998.A3 L3583
Moffitt PN1998.A3 L3583

"German expressionism and the roots of the film noir -- Fritz Lang -- Robert Siodmak."
In: Street with no name: a history of the classic American film noir / Andrew Dickos. Lexington: University Press of Kentucky, c2002.
Main Stack PN1995.9.F54.D53 2002

Gunning, Tom
The films of Fritz Lang: allegories of vision and modernity London: British Film Institute, 2000.
Main Stack PN1998.3.L36; G86 2000

The Haunted Screen: German Film After World War One[Videorecording]
Film critic Peter Buchka explores the German cinema of the 1920s through film clips from these mostly silent films with commentary grouped by film themes such as "Evil and how it entered the world; Dream figures from the real world; Toying with fate" and "Power leads to doom." Film excerpts from: Destiny (1921) -- The Golem: how he came into the world (1920) -- Castle Vogeloed (1921) --Cabinet of Dr. Caligari (1919) -- Faust (1925/26) --Metropolis (1926) -- Nosferatu: a symphony of horror (1922) -- Hands of Orlac (1924) -- Secrets of a soul (1926) -- Eyes of the Mummy Ma (1918) -- Dr. Mabuse, the gambler (1921/22) --Madame Dubarry (1919) -- Danton (1921) -- A way to the night (1920) -- Variety (1925) -- Tartuffe (1925) -- Spies (1928) -- Last laugh (1924) -- Nibelungen (1922/24). 1998. 60 min. Video/C 6904

Higham, Charles
"Fritz Lang." In: The celluloid muse: Hollywood directors speak [by] Charles Higham and Joel Greenberg. London, Angus & Robertson, 1969.
Main Stack PN1998.A2.H5 NRLF #: B 3 569 794
Moffitt PN1998.A2.H5

Hoeppner, Klaus.
Fritz Lang: Filmblatter, Filmografie, BibliografieBerlin: Filmmuseum Berlin: Internationale Filmfestspiele Berlin, 2001.
MAIN: PN1998.3.L36 H64 2001

Humphries, Reynold.
Fritz Lang: Genre and Representation in his American Films / Reynold Humphries. Baltimore; Johns Hopkins University Press, c1989.
Main PN1998.3.L36 H86131 1989
Moffitt PN1998.3.L36 H8613 1989

Humphries, Reynold.
Fritz Lang, Cineaste Americain / Reynold Humphries. Paris, [France]: Editions Albatros, 1982.
Main PN1998.A3; L3586 1982

Jensen, Paul M.
The Cinema of Fritz Lang / by Paul M. Jensen. New York, A. S. Barnes [1969]. Series title: The International film guide series.
Main PN1998.A3 L3591 1969

Kaplan, E. Ann.
Fritz Lang, a Guide to References and Resources / E. Ann Kaplan. Boston, Mass.; G.K. Hall, c1981. Series title: A Reference publication in film.
Main PN1998.A3 .L3595
Moffitt PN1998.A3 .L3595

Koepnick, Lutz.
"Pianos, Priests, and Popular Culture: Sirk, Lang, and the Legacy of American Populism." In: The dark mirror: German cinema between Hitler and Hollywood / Berkeley: University of California Press, c2002.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1993.5.G3 K645 2002
Moffitt PN1993.5.G3 K645 2002

Lang, Fritz
Fritz Lang : interviews / edited by Barry Keith Grant. Jackson : University Press of Mississippi, Date c2003.
Contents via Google Books

Maibohm, Ludwig.
Fritz Lang, seine Filme--sein Leben / von Ludwig Maibohm. Munchen, [Germany]: Wilhelm Heyne, 1981
Main Stack PN1998.A3; .L362 1981

McElhaney, Joe
The death of classical cinema : Hitchcock, Lang, Minnelli / Joe McElhaney. Albany : State University of New York Press, c2006.
Main (Gardner) Stacks PN1998.3.H58 M37 2006

McGilligan, Patrick.
Fritz Lang: The Nature of the Beast / by Patrick McGilligan. New York: St. Martin's Press, 1997.
UCB Main PN1998.3.L36 M38 1997

Mesnil, Michel.
Fritz Lang: le jugement / Michel Mesnil. Paris: Editions Michalon, c1996.
Main Stack PN1998.3.L36; M47 1996

Metz, Walter
"Modernity and the Crisis in Truth: Alfred Hitchcock and Fritz Lang." In: Cinema and modernity / edited by Murray Pomerance. Publisher New Brunswick, N.J. : Rutgers University Press, c2006.
Grad Svcs PN1994.C4885 2006
Main Stack PN1994.C4885 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0516/2005020076.html

Moullet, Luc.
Fritz Lang. Presentation par Luc Moullet; choix de textes et propos de Fritz Lang; extraits de dialogues, panorama critique, temoignages, bio-filmographie, bibliographie, documents iconographiques. [Paris], Seghers [1963]
Main Stack PN1993; .C4 v.9

Munby, Jonathan.
"The Un-American Film Art: Robert Siodmak, Fritz Lang, and the Significance of Film Noir's German Connection." In: Public enemies, public heroes : screening the gangster from Little Caesar to Touch of Evil. Chicago : University of Chicago Press, 1999.
MAIN: PN1995.9.G3 M86 1999
MOFF: PN1995.9.G3 M86 1999

Ott, Frederick W.
The Films of Fritz Lang / by Frederick W. Ott. 1st ed. Secaucus, N.J.; Citadel Press, c1979.
Main PN1998.A3 .L364

Phillips, Gene D.
"Fritz Lang." In: Exiles in Hollywood : major European film directors in America / Gene D. Phillips. Bethlehem : Lehigh University Press ; London : Associated University Presses, c1998.
Main Stack PN1998.2.P54 1998
Moffitt PN1998.2.P54 1998

Sturm, Georges
Die Circe, der Pfau und das Halbblut: die Filme von Fritz Lang, 1916-1921 / Georges Sturm. Trier: Wissenschaftlicher Verlag, c2001.
Main Stack PN1998.3.L36; S77 2001

Sturm, Georges
Fritz Lang: films, textes, references / Georges Sturm. Nancy: Presses universitaires de Nancy, c1990.
Main Stack PN1998.3.L36; S78 1990

Toteberg, Michael
Fritz Lang mit Selbstzeugnissen und Bilddokumenten / dargestellt von Michael Toteberg.<1985> Reinbek bei Hamburg: Rowohlt, 1985.
Main Stack PN1995.9.P7; T671 1985

Journal Articles

Appel, Alfred, Jr
"The Director: Fritz Lang's American Nightmare." Film Comment 10:6 (1974:Nov./Dec.) 12

Bellour, Raymond
"On Fritz Lang On Fritz Lang." SubStance, Vol. 3, No. 9, Film (Spring, 1974), pp. 25-34
UC users only

Bergstrom, Janet.
"Psychological Explanation in the Films of Lang and Pabst." In: Psychoanalysis & Cinema / edited by E. Ann Kaplan. pp: 163-180. New York: Routledge, 1989. AFI film readers.
Main Stack PN1995.9.P78.P79 1989
Moffitt PN1995.9.P78.P79 1989

Bernstein, Matthew.
"Fritz Lang, Incorporated." The Velvet Light Trap, vol. 22. 1986. pp: 33-52.

"Biofilmographie de Fritz Lang"
Cahiers du cinema 17:99 (1959:sept.) 25

Black, D.A.
"Genette and Film: Narrative Level in the Fiction Cinema."Wide Angle VIII/3-4, 86; p.19-26. illus.
On the problems of applying G?rard Genette's literary theory of narrative to film. Looks particularly at "Rancho Notorious".

Demonsablon, Philippe
"La hautaine dialectique de Fritz Lang." Cahiers du cin?ma 17:99 (1959:sept.) 10

Domarchi, Jean and Rivette, Jacques
"Entretien avec Fritz Lang." Cahiers du cinema 17:99 (1959:sept.) 1

Douchet, Jean
"La tragedie du heros langien." Cahiers du Cinema no437 Nov 1990. p. 59-61

Elsaesser, Thomas .
"Fritz Lang: The illusion of mastery." (German film director) Sight and Sound Jan 2000 v10 i1 p18(5)
"The writer argues that Fritz Lang's Dr. Mabuse trilogy is a radical critique of surveillance culture, demonstrating that the three films are metaphors not of political power but of rebellion against power. The three films emphasize the idea of a looking glass world, in which sight is not only the sense most easily deceived but also the one most easily seduced. They also investigate what such an idea implies for the political function of cinema as an instrument of social control. In the films, it appears as if the direct look is not a look at all, at least not in the sense that it gives access to power. Mabuse's downfall occurs because the further he rises, the more the look he relies on reveals its underside, namely of being a look borrowed from the technologies of vision--technologies that are themselves blind. Lang's Mabuse films are essays on the social symbolic represented by the new technologies of surveillance as dissembling machines at once frightening and fascinating." [Art Index]

Elsaesser, Thomas .
"Too Big and Too Close: Alfred Hitchcock and Fritz Lang." Hitchcock Annual, vol. 12, pp. 1-41, 2003
Compares film directors Alfred Hitchcock and Fritz Lang. Interest of Hitchcock and Lang in routine processes and extreme psychological states; Participation of both directors in the rediscovery of mythic patterns in human experience; Difference in the directors' works; Changes in the reputation of both directors in the 1980s.

Ferguson, O.C.
"Behind the camera: Lang." The New Republic v. 104 (June30 1941) p. 887

Franju, Georges
"Le style de Fritz Lang." Cahiers du cinema 17:101 (1959:nov.) 16

"Franju on Lang: 1937 article by Georges Franju on Fritz Lang." Monthly Film Bulletin 43:504/515 (1976) June

"Fritz Lang and Dr. Joseph Goebbels." Graphis v 42 Jan/Feb 1986. p. 75

"Fritz Lang."
Films in Review Films in Review v 27 Nov 1976. p. 571-2

"Fritz Lang filmography."
Films in Review v 28 Jan 1977. p. 61-3

Hall, Kenneth E.
"Von Sternberg, Lubitsch, and Lang in the Work of Manuel Puig." Literature/ Film Quarterly, vol. 22 no. 3. 1994. pp: 181-86.

Hart, Henry
"Fritz Lang Today." Films in Review 7:6 [June/July 1956] p.261

Hay, David
"The giant who today goes unseen." (the work of filmmaker Fritz Lang) The New York Times Sept 30, 2001 pAR24(N) pA24(L) col 1 (25 col in)

Hogue, Peter.
"Fritz Lang: Our Contemporary." (100th anniversary of the birth of the noted film director) Film Comment v26, n6 (Nov-Dec, 1990):9 (4 pages).

"Hommage a Fritz Lang." (4 article special section) Cahiers du Cinema no437 Nov 1990. p. 42-7, 50-3, 56-63

Horn, Eva.
"Media of Conspiracy: Love and Surveillance in Fritz Lang and Florian Henckel von Donnersmarck" New German Critique, Winter2008, Issue 103, p127-144, 18p
UC users only

Jancovich, Mark
"'Master of Concentrated Suspense': horror, gender and fantasy in the critical reception of Fritz Lang during the 1940s." Studies in European Cinema; 2008, Vol. 5 Issue 3, p171-183, 13p
UC users only

Klein, Andy.
"Fritz Lang: The Director Was a Dictator, But his Movies Were Ruled by a Greater Force." (includes list of films available on home video) American Film v15, n13 (Oct, 1990):56 (3 pages).

Macksey, Richard.
"Four Emigre Directors: Shadows of Careers." MLN, vol. 98 no. 5. 1983 Dec. pp: 1187-1196.

Madsen, Axel
"Lang." Sight and Sound v 36 no3 Summer 1967. p. 108-12

Mourlet, Michel
"Trajectoire de Fritz Lang." Cahiers du cinéma 17:99 (1959:sept.) 19

Overbey, David L.
"Fritz Lang's Career girl." Sight and Sound v 44 no4 Autumn 1975. p. 240-3

Overbey, David L.
"Lang, 1890-1976." Sight and Sound v 45 no4 Autumn 1976. p. 226-7

Piccoli, Michel
"Ma rencontre avec Fritz Lang." Cahiers du Cinema no437 Nov 1990. p. 62-3

Plass, Ulrich.
"Dialectic of Regression: Theodor W. Adorno and Fritz Lang." Telos, Winter2009, Issue 149, p127-150, 24p
UC users only

Rolfe, Hilda.
"The Perfectionist." (film director Fritz Lang) Film Comment v28, n6 (Nov-Dec, 1992):2 (3 pages).
UC users only

Saada, Nicolas
"Fritz Lang et le paradis artificiel." Cahiers du Cinéma no. 433 (June 1990) p. 41

Saada, Nicolas
"Lang, le cinema absolument." Cahiers du Cinema no437 Nov 1990. p. 50-3+

Smedley, Nick.
"Fritz Lang's Trilogy: The Rise and Fall of a European Social Commentator." Film History V/1, Mar 93; p.1-21.
UC users only
In his first US films ("Fury", "You only live once" and "You and me"), F.L. offered a critique of society from a European perspective; notes reactions from the press and the Hays Office towards his radical messages.

Smedley, Nick.
"Fritz Lang Outfoxed: The German Genius As Contract Employee." Film History 1990 4(4): 289-304.
UC users only

Sorrel, Nancy Caldwell
"Fritz Lang and Dr. Joseph Goebbels." The Atlantic, March 1985 v255 p77(1)

Stevens, Dana
"Writing, Scratching, and Politics from M to Mabuse."Qui-Parle 1993 Fall-Winter; 7(1): 57-80.

Tratner, Michael
"Lovers, Filmmakers, and Nazis: Fritz Lang's Last Two Movies as Autobiography." Biography: An Interdisciplinary Quarterly, vol. 29, no. 1, pp. 86-100, Winter 2006
UC users only
Die tausend Augen des Dr. Mabuse and Das indische Grabmal are discussed.

Warren, Paul
"La paternite revisite de F. W. Murnau et de Fritz Lang." Etudes litteraires 18:1 (1985:printemps/?t?) 157

Welsch, Tricia
"Sound Strategies: Lang's Rearticulation of Renoir." Cinema Journal 2000 Spring; 39(3): 51-65.
UC users only

Werner, Gosta.
"Fritz Lang and Goebbels: Myth and Facts." (did the film director flee Nazi Germany?) Film Quarterly v43, n3 (Spring, 1990):24 (4 pages).
UC users only

Willis,D
"Fritz Lang: only melodrama." Film Quarterly v 33 no4 Summer 1980. p. 62-3
UC users only

Winkler, Martin M.
"Fritz Lang's mediaevalism: From Die Nibelungen to the American West." Mosaic : a Journal for the Interdisciplinary Study of Literature. Mar 2003. Vol. 36, Iss. 1; p. 135 (12 pages)
UC users only

Books and Journal Articles About Individual Films

The Big Heat

"The Big Heat." (short review)
Films & Filming 401, Feb 88; p.30-31.

Callahan, Dan
"Fatal Instincts: The Dangerous Pout of Gloria Grahame." Bright Lights Films Journal, August 2008 | Issue 61

Cooper, S.
"Sex/Knowledge/Power in the Detective Genre." Film Quarterly, XLII/3, Spring 89; p.23-31. (Four detective films - "The Maltese Falcon",
"The Big Heat", "Chinatown", "Angel Heart" - used to discuss characteristics of male-female relationships within the genre, notably the woman's withholding of knowledge sought by the man.)

McArthur, Colin.
The big heat / Colin McArthur. London: BFI Publishing, 1992. BFI film classics.
Moffitt PN1997.B54.M33 1992

McGivern, W.P.
"Roman Holiday. (Article). American Film, IX/1, Oct 83; p.14,19.
Novelist W.P.McG.'s memoir of his meeting with Fritz Lang in the early 1960's, when they discussed the director's making of "The Big Heat" from the novel by W.P.McG.

Metz, Walter.
"'Keep the Coffee Hot, Hugo': Nuclear Trauma in Lang's 'The Big Heat.'" Film Criticism v21, n3 (Spring, 1997):43 (23 pages)
UC users only
"The writer argues that the violence in Fritz Lang's 1953 movie "The Big Heat" emerges from a cultural anxiety over nuclear proliferation that permeated early 1950s American culture, particularly the film noir. He begins with a comparison of the movie with its novel version by William P. McGivern, arguing that whereas the novel connects the nuclear to issues of race, the movie forges the relationship between atomic energy and gender. He explains that in the film, a crime syndicate plants a car bomb that kills the protagonist's wife; the filming of the explosion resembles an atomic blast and does not show the bomb's damage, thus connecting the car bombing to a cliche common to 1950s films featuring the detonation of a nuclear device. Moreover, he notes that the scarring of the female character Debbie by means of hot coffee thrown at her face by her boyfriend suggests the consequences of radiation poisoning." [Art Index]

Romero, Maria Dolores.
"Woman's Death and Patriarchal Closure in Fritz Lang's The Big Heat." In: Gender, I-Deology: Essays on Theory, Fiction and Film / edited by Chantal Cornut-Gentille D'Arcy and Jose Angel Garcia Landa. pp: 333-44. Amsterdam; Atlanta: Rodopi, 1996. Postmodern Studies; 16
Main Stack PN56.F46.G46 1996

Shaw, Daniel C.
"Lang "contra" Vengeance: "The Big Heat"." Journal of Value Inquiry. D 95; 29(4): 533-545
"The films of Fritz Lang have always been surprising in the depth of their characterizations and social conscience. This article examines how he treats the theme of vengeance in several of his movies, culminating in an extensive analysis of "The Big Heat". It concludes that Lang consistently condemned vigilanteism, by portraying the devastation it wreaks both on the individual and on society. Nowhere is that negative depiction more inspiring than in "The Big Heat", which reaffirms our faith in the rule of law and the essential decency of the common man." [The Philosopher's Index]

Tracey, Grant.
"The Big Heat" (10 Shades of Noir) Images, issue 2.

Wager, Jans B.
"Percolating Paranoia." Bright Lights, January 2000 | Issue 27
film is viewed as an archetypal film noir in its negative depiction of family life.

Clash by Night

Pye, Douglas.
"Running out of places: Fritz Lang's Clash by Night." Cineaction (52) 2000, 12-17.

Dr. Mabuse

Andriopoulos, Stefan.
"Bernheim, Caligari, Mabuse: Cinema and Hypnotism." In: Possessed : hypnotic crimes, corporate fiction, and the invention of cinema / Stefan Andriopoulos ; Chicago : University of Chicago Press, 2008.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.H95 A5413 2008

Andriopoulos, Stefan.
"Spellbound in Darkness: Hypnosis as an Allegory of Early Cinema." Germanic Review. 77(2):102-116. 2002 Spring
UC users only

Andriopoulos, Stefan.
"Suggestion, hypnosis, and crime : Robert Wiene's The Cabinet of Dr. Caligari (1920)." In: Weimar cinema : an essential guide to classic films of the era / edited by Noah Isenberg. New York : Columbia University Press, c2009.
Main (Gardner) Stacks PN1993.5.G4 W357 2009

Burch, Noel
"Notes on Fritz Lang's first Mabuse." In: In and out of synch: the awakening of a cine-dreamer / Noel Burch; translated by Ben Brewster. p. 205-27 London: Scolar; 1991.
Main Stack PN1993.5.U6.B87 1991

Burch, Noel
"De" Mabuse et M: le travail de Fritz Lang" Revue d'esthetique 26:2/4 (1973) 227

Butler, Erik.
"Dr. Mabuse: Terror and Deception of the Image." German Quarterly, Fall2005, Vol. 78 Issue 4, p481-495, 15p
UC users only
"The article seeks to strike a balance between Kracauer's psycho-sociological analysis and Gunning's immanent critique in order to examine Mabuse as a refraction of climates of fear throughout the 20th century. The instant success of Mabuse in print and on-screen in the early 1920s owed much to the fact that the villain embodied the turbulence of the political and social situation in Germany." [ProQuest]

Davis, Blair
"Fritz Lang's Dr. Mabuse Trilogy and the Horror Genre, 1922-1960." In: Caligari's heirs : the German cinema of fear after 1945
Edited by Steffen Hantke. Lanham, Md. : Scarecrow Press, 2007.
Main Stack PN1995.9.H6.C37 2007

"Dr. Mabuse The Gambler." (Review).Films & Filming 334, July 82; p.32-33.

Elsaesser, Thomas
"Fritz Lang: the illusion of mastery." Sight and Sound ns10 no1 Jan 2000. p. 18-22
UC users only
"The writer argues that Fritz Lang's Dr. Mabuse trilogy is a radical critique of surveillance culture, demonstrating that the three films are metaphors not of political power but of rebellion against power. The three films emphasize the idea of a looking glass world, in which sight is not only the sense most easily deceived but also the one most easily seduced. They also investigate what such an idea implies for the political function of cinema as an instrument of social control. In the films, it appears as if the direct look is not a look at all, at least not in the sense that it gives access to power. Mabuse's downfall occurs because the further he rises, the more the look he relies on reveals its underside, namely of being a look borrowed from the technologies of vision--technologies that are themselves blind. Lang's Mabuse films are essays on the social symbolic represented by the new technologies of surveillance as dissembling machines at once frightening and fascinating." [Art Index]

Fischer, Lucy.
"Dr. Mabuse and Mr. Lang."Wide Angle III/3, 80; p.18-26. illus. An analysis of Lang's reasons for making the film and its political context.Lang, Fritz "Fritz Lang on Dr. Mabuse." Monthly Film Bulletin XLV/531, Apr 78; p.80. F.L. describes how he came to make the Dr. Mabuse films in 1933 and 1960. From 'Movie' no. 4 Dec 1962.

Fujiwara, Chris
"The Testaments of Fritz Lang." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 30, no. 2, pp. 38-42, Spring 2005.
UC users only
"A review of the DVD release of Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse), a film directed by Fritz Lang. This superb new DVD edition can only enhance the reputation of Lang's film, in which Mabuse, a master criminal of many disguises, is trapped in an insane asylum, from which he emerges only as a superimposed ghostly form that directs the actions of the asylum head or takes over his body. It includes a restored version of the film, the French version (shot by Lang at the same time with a different cast), and the 75-minute English-dubbed version released in 1952. It also includes documentaries and an excellent audio commentary by David Kalat. In all, this is a wonderful presentation of an inexhaustible and still contemporary film. This pivotal, transitional film anticipates Lang's American films in its examination of the workings of a malignant system as a kind of cinema." [Art Index]

Gottsche, Frauke.
Geometrie im Film : Fritz Langs Dr. Mabuse, der Spieler und Leni Riefenstahls Triumph des Willens Munster : Lit, c2003.
MAIN: PN1997.D72 G68 2003

Grob, Norbert
"Bringing the ghostly to life": Fritz Lang and his early Dr. Mabuse films" In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Gunning, Tom
"Fritz Lang's Dr. Mabuse, the gambler (1922) : grand enunciator of the Weimar era." In: Weimar cinema : an essential guide to classic films of the era / edited by Noah Isenberg. New York : Columbia University Press, c2009.
Main (Gardner) Stacks PN1993.5.G4 W357 2009

Hall, Sara.
"Trading Places: Dr. Mabuse and the Pleasure of Role Play." German Quarterly, Fall2003, Vol. 76 Issue 4, p381-397, 17p
UC users only
"Analyzes the films "Dr. Mabuse, der gro?e Spieler: Ein Bild unserer Zeit" and "Das Inferno: Ein Spiel von Menschen unserer Zeit," by Fritz Lang and Thea von Harbou. Root of Mabuse's criminality; Reason Mabuse never disguises himself as a woman; Discussion on the factor of spectator enjoyment in a study of audience responses to Alfred Hitchcock's film "Psycho" by Linda Williams." [Ebsco]

Jacques, Norbert
Dr. Mabuse, Medium des Bosen / Norbert Jacques; herausgegeben von Michael Farin und Gunter Scholdt. Hamburg: Rogner & Bernhard, 1994-
Main Stack PT2619.A38; D76 1994

Jacques, Norbert
Dr. Mabuse, Medium des Bosen Hamburg : Rogner & Bernhard, 1994-
MAIN: PT2619.A38 D76 1994

Jacques, Norbert
Dr. Mabuse, der Spieler: Roman, Film, Dokumente / Norbert Jacques; Fritz Lang [Regisseur]; Herausgeber, Gunter Scholdt.<1987> St. Ingbert: W.J. Rohrig, 1987.
Main Stack PT2619.A38; D7 1987

Johnston, S.
"Dr Mabuse the gambler." (motion picture review) Films and Filming no334 July 1982. p. 32

Jubak, J.
"Lang and Parole: Character and Narrative in 'Doktor Mabuse, der Spieler'." Film Criticism IV/1, Fall 79; p.25-34.
Structural analysis of Lang's film.
UC users only

Kalat, David
The strange case of Dr. Mabuse: a study of the twelve films and five novels / David Kalat. Jefferson, N.C.: McFarland, c2001.
Main Stack PN1995.9.D58.K35 2001

Kaplan, E. Ann
"Fritz Lang and German expressionism: a reading of Dr. Mabuse, der Spieler." In: Passion and rebellion: the expressionist heritage / edited by Stephen Eric Bronner & Douglas Kellner. South Hadley, Mass.: J.F. Bergin, 1983.
Main Stack NX550.A1.P374 1983
Moffitt NX550.A1.P374 1983

Lang, Fritz
"Fritz Lang on Dr. Mabuse." Monthly Film Bulletin XLV/531, Apr 78; p.80.
F.L. describes how he came to make the Dr. Mabuse films in 1933 and 1960. From 'Movie' no. 4 Dec 1962.

Peucker, Brigitte
"Movement, fragmentation, and the uncanny." In: Incorporating images: film and the rival arts / Brigitte Peucker. p. 8-54 Princeton, N.J.: Princeton University Press, c1995. (Series: Princeton paperbacks)
Main Stack PN1995.25.P48 1995

Fury

Bruzzi, Stella.
"Imperfect Justice: Fritz Lang's Fury (1936) and Cinema's Use of the Trial Form." Law & Humanities, 2010, Vol. 4 Issue 1, p1-19, 19p;
UC users only

Castle, Robert
"Fritz Lang's Assumption Factory." Bright Lights Film Journal, vol. 38, pp. (no pagination), November 2002.

Decker, Christof.
"The Ambiguous Critique of Lynch Law: Fritz Lang and Hollywood's Representation of Injustice." European Contributions to American Studies, Jul2004, Vol. 57, p97-108, 12p;

Drake, Ryan.
"Devices of Shock: Adorno's Aesthetics of Film and Fritz Lang's Fury." Telos, Winter2009, Issue 149, p151-168, 18p
UC users only

Kaes, Anton
"A Stranger in the House: Fritz Lang's Fury and the Cinema of Exile." New German Critique: An Interdisciplinary Journal of German Studies, vol. 89, pp. 33-58, Spring 2003.
UC users only

Leitch, Thomas M.
"Fury and the Victim Film." In: Crime films / Thomas Leitch. Cambridge ; New York : Cambridge University Press, 2002.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.D4 L45 2002

Mennel, Barbara
"White Law and the Missing Black Body in Fritz Lang's Fury." (1936)Quarterly Review of Film and Video Volume 20, Number 3 / July / August / September 2003 203 - 223
UC users only
"Fritz Lang's 1936 film Fury responded to a crisis of law created by a 1933 California lynching case of two white men. As Hollywood's response to this crisis, the film fulfills a double function: Its liberal discourse deals with the inadequacies of law, but then reestablishes belief in the law, which functions to keep racial hierarchies in place. The black body is absent as the lynching victim, and the film rewrites the race/gender power structure that supported lynching in the US. Thus, in a structure of disavowal, a white, liberal audience can participate in social criticism based on the absence of black main characters while enjoying the melodrama, in which the white male character is both victim and hero. The writer goes on to discuss the different institutions involved in the creation of Fury in order to address its representation of race in the context of Hollywood's hegemonic production of whiteness." [Art Index]S

Rippey, Theodore F.
"By a Thread: Civilization in Fritz Lang's Fury." Journal of Film and Video. Fall 2008. Vol. 60, Iss. 3/4; p. 72 (18 pages)
UC users only

Smedley, Nick.
"Fritz Lang's Trilogy: The Rise and Fall of a European Social Commentator." Film History V/1, Mar 93; p.1-21.
In his first US films ("Fury", "You only live once" and "You and me"), F.L. offered a critique of society from a European perspective; notes reactions from the press and the Hays Office towards his radical messages.

Velde, François R.
"On Fritz Lang's Fury (1936)." Stanford French Review, vol. 16, no. 1, pp. 87-94, 1992.

Hangmen Also Die

Brewster, Ben
"The fundamental reproach: Bertold Brecht and the cinema." In: Explorations in film theory: selected essays from Cine-tracts / edited by Ron Burnett. Bloomington: Indiana University Press, c1991.
Main Stack PN1995.E98 1991

Brewster, Ben
"Brecht and the Film Industry: On The Threepenny Opera Film and Hangmen Also Die." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. New York: G.K. Hall; London: Prentice Hall International, c1996. Perspectives on film.
Main Stack PN1993.5.G3.P42 1996

Gemunden, Gerd
"Brecht in Hollywood: Hangmen Also Die and the Anti-Nazi Film." TDR: The Drama Review 1999 Winter; 43(4 (T164)): 65-76.
UC users only

Grimm, Reinhold. Schmidt, Henry J.
"Bertolt Brecht and 'Hangmen Also Die'." Monatshefte: Fur Deutschen Unterricht, Deutsche Sprache und Literatur. 61: 232-240. 1969. Madison, WI.

Lyon, James K.
'Hangmen Also Die' Once Again: Dispelling Last Doubts about Brecht's Role as Author." Lyon, James K. Brecht Yearbook, 2005, Vol. 30, p1-6, 6p

Lyon, James K. (ed. and introd.).
"The Original Story Version of Hangmen also Die-A Recently Discovered Document." Brecht Yearbook/Das Brecht-Jahrbuch. 28: 1-30. 2003.

Mew, Siegfried.
"Hitler in Hollywood: Hangmen also Die Revisited." Brecht Yearbook/Das Brecht-Jahrbuch. 28: 33-46. 2003.

Schebera, Jurgen
"'Hangmen Also Die' (1943): Hollywood's Brecht-Eisler collaboration." (anti-Naziwar motion picture; composers Bertolt Brecht and Hanns Eisler) Historical Journal of Film, Radio and Television Oct 1998 v18 i4 p567(7)
UC users only
"Fritz Lang's 1943 film 'Hangmen Also Die' was a superioranti-Nazi war picture and one where dramatist Bertolt brecht and composer Hanns Eisler were to collaborate. The musical score for the filmconfirmed Eisler's reputation in Hollywood as a composer of unusualmotion picture scores and, especially given its dramaturgical significance, is among the important contributions among Eisler's nearly 40 documentary and feature film compositions between 1931 and 1962. His composition is evaluated." [Expanded Academic Index]

Weber, Horst.
"Eisler as Hollywood film composer, 1942-1948." (composer Hanns Eisler) Historical Journal of Film, Radio and Television Oct 1998 v18 i4 p561(6)
UC users only
"Hanns Eisler's migration from New York, NY, to Los Angeles, CA, was a significant move as he was to achieve substantial success in Hollywood. He wrote the music for eight motion pictures between 1942 and 1948. Only his work in 'Hangmen Also Die' has been analyzed to date and there is no research on his work in the other seven films although some of them were important productions. A reconstruction of Eisler's creative process in writing music for his Hollywood pictures is presented." [Expanded Academic Index]

M

Chang, J.S.M.J.
"M: a Reconsideration." Literature/Film Quarterly VII/4, 79; p.300-308.
Examines the relationship between the police and the underworld in "

Currie, Hector
"Fritz Lang's M: symbol of transformation." In: Currie, Hector. Cinema drama schema: eastern metaphysics in Western art / Hector Currie. p. 149-58. New York: Philosophical Library, c1985.
Main Stack PN1892.C8 1985 NRLF #: B 3 909 247
Moffitt PN1892.C8 1985

Dimendberg, Edward
"From Berlin to Bunker Hill: Urban Space, Late Modernity, and Film Noir in Fritz Lang's and Joseph Losey's M." Wide Angle 1997 Oct; 19(4): 62-93.
UC users only

Deutelbaum, Marshall
"Man hunt de Fritz Lang." Film Criticism v 18 Fall 1993. p. 63-6

Dimendberg, E.
"From Berlin to Bunker-Hill: Urban Space, Late Modernity, and Film-noir in Fritz Lang's and Joseph Losey's `M'." Wide Angle, 1997 Oct, V19 N4:62-93.

Garncarz, J.
"Fritz Lang's M. A Case of Significant Film Variation." Film History IV/3, 90; p.219-226.
UC users only
A methodical-theoretical concept of significant film variation, which permits an understanding of a variation of a film as a process of standardization, is applied here to understanding different versions of Fritz Lang's "M".

Kaes, Anton.
M / Anton Kaes. London: BFI Publishing, 2000.Series title: BFI film classics.
UCB Grad Svcs PN1997.M12 K24 2000
UCB Main PN1997.M12 K24 2000

Kaes, Anton
"The cold gaze: Notes on mobilization and modernity." New German Critique; Spring/Summer93 Issue 59, p105, 13p
UC users only
Discusses mobilization and modernity with references to the writings of Ernst Junger and the movie `M' by Fritz Lang. Technology of warfare and technologies of perception; 'M' as portrayal of inherent relation between urban living and danger; Militarization and mobilization; World War I.

Koepnick, Lutz
"Rilke's Rumblings and Lang's Bang." Monatshefte; Summer2006, Vol. 98 Issue 2, p198-214, 17p
UC users only
"The article discusses modern listening subject as demonstrated in the close readings of excerpts from Rainer Maria Kilke's novel Die Aufzeichnungen des Malte Laurids Brigge and opening sequence of Fritz Lang's film M. According to the author, modern listeners learned to negotiate conflicting sensual input and forsake conventional visions of wholeness and unity." [Ebsco]

Lange, Horst.
"Nazis vs. the Rule of Law: Allegory and Narrative Structure in Fritz Lang's M." Monatshefte, Summer2009, Vol. 101 Issue 2, p170-185, 16p
UC users only

Tatar, Maria.
"Crime, Contagion, and Containment: Serial Murderers and Their Representation in the Weimar Republic." In:Disease and Medicine in Modern German Cultures. Ithaca, NY. 1990. xvii, 208 pp. pp: 91-107 (no UCB holdings)

Tatar, Maria.
"The killer as victim: Fritz Lang's M." In: Lustmord: sexual murder in Weimar Germany / Maria Tatar. p. 153-72 Princeton, N.J.: Princeton University Press, c1995.
Main Stack HV6535.G3.T38 1995
Moffitt HV6535.G3.T38 1995

Tatar, Maria.
Lustmord: sexual murder in Weimar Germany / Maria Tatar. Princeton, N.J.: Princeton University Press, c1995.
Main Stack HV6535.G3.T38 1995
Moffitt HV6535.G3.T38 1995

Metropolis

Abrams, Jerold J.
"The dialectic of Enlightenment in Metropolis." In: The philosophy of science fiction film
Edited by Steven M. Sanders. Lexington, Ky. : University Press of Kentucky, c2008.
MAIN: PN1995.9.S26 P49 2008

Abrams, Jerold J.
"The Dialectic of Enlightenment in Metropolis." In: The philosophy of science fiction film
Edited by Steven M. Sanders. Lexington, Ky. : University Press of Kentucky, c2008.
MAIN: PN1995.9.S26 P49 2008

Antonelli, Paola; Schneider, Romana
"Metropolis in vitro." (the most famous metropolitan fiction in motion picture history) Domus no717 June 1990. p. 74-80

Apuzzo, Jason Alexander
"Metropolis: The Foundation of the Avant-garde." Neurosurgery. 49(4):992-995, October 2001.
UC users only

Armour, Robert A.
Fritz Lang / Robert A. Armour. pp: 31-5+ Boston: Twayne, 1978, t.p. 1977. Series title: Twayne's theatrical arts series.
UCB Main PN1998 .A3L3556
UCB Moffitt PN1998.A3L3556

Ball, Norman
"Metropolis, Ezra Pound, Mammon: And the Law of Too-Large Numbers." Bright Lights Film Journal, November 2008 | Issue 62

Benesch, Klaus
"Technology, Art, and the Cybernetic Body: The Cyborg as Cultural Other in Fritz Lang's Metropolis and Philip K. Dick's Do Androids Dream of Electric Sheep?" Amerikastudien-American Studies 1999; 44(3): 379-92.

Bertellini, Giorgio
"Restoration, Genealogy and Palimpsests. On some Historiagraphical Questions." Film History VII/3, Autumn 95; p.277-290.
A critical reading of the heuristics of film restoration against the background of current debates around early cinema, focusing on the example of "Metropolis".

Biro, Matthew.
"The New Man as Cyborg: Figures of Technology in Weimar Visual Culture." New German Critique, vol. 62. 1994 Spring-Summer. pp: 71-110.
UC users only

Bloch, Robert.
"The Master and Metropolis." In: Omni’s Screen Flights/ Screen Fantasies: The Future According to Science Fiction Cinema / edited by Danny Peary; introduction by Harlan Ellison. 1st ed. Garden City, N.Y. : Doubleday, 1984.
MAIN: PN1995.9.S26 O461 1984

Bloom, Suzanne; Hill, Ed.
"Dark Wonder." (motion picture Metropolis) Artforum v27, n10 (Summer, 1989):86 (6 pages).

Byers, Thomas B.
"Kissing Becky: Masculine Fears and Misogynist Moments in Science Fiction Films." Arizona Quarterly, vol. 45 no. 3. 1989 Autumn. pp: 77-95.

Brodnax, Mary
"Man a machine: the shift from soul to identity in Lang's Metropolis and Ruttmann's Berlin." In: Peripheral visions: the hidden stages of Weimar cinema / edited by Kenneth S. Calhoon. p. 73-93. Detroit: Wayne State University Press, c2001.
Main Stack PN1993.5.G3.P39 2001

Byrne, Deirdre C.
"The Top, the Bottom and the Middle: Space, Class and Gender in Metropolis." Tydskrif vir Besondere en Vergelykende Taal- en Literatuurstudie/Journal of Literary Criticism, Comparative Linguistics and Literary Studies, vol. 24, no. 3, pp. 1-14, November

Byrne, Deirdre C.
"The top, the bottom and the middle: space, class and gender in Metropolis." (Critical Essay) Literator Nov 2003 v24 i3 p1(14) (5612 words)

Clapp, James A.
"'It was the city killed the beast:' nature, technophobia, and the Cinema of the urban future." Journal of Urban Technology Volume 10, Issue 3, 2003
UC users only

Clark, Jill
"Scientific Gazing and the Cinematic Body Politic: The Demonized Cyborg of Metropolis." Intertexts 1999 Fall; 3(2): 168-79.
"My article explores the images and metaphors relating to space in Fritz Lang's 1926 film, Metropolis (remade in 1984 by Georgio Moroder). Using a primarily Marxist interpretive framework, I analyse the spatial layout of the filmic city of Metropolis, divided into three levels, one above ground and two underground, as metonymic of the class divisions in the urban society that are represented in the film. The article also examines the architecture of Metropolis as representing social values and conflicts. It then proceeds to investigate the film's gender dynamics as revealed in the two figures of the robot Maria and the real Maria, and concludes that the film's gender and class ideology is remarkably conservative." [Expanded Academic Index]

Cook, David A.
A History of Narrative Film / David A. Cook. pp: 137-9. 3rd ed. New York: W.W. Norton, c1996.
UCB Main PN1993.5.A1 C65 1996

Cowan, Michael
"The Heart Machine: 'Rhythm' and Body in Weimar Film and Fritz Lang's Metropolis." Modernism/modernity, vol. 14, no. 2, pp. 225-48, 2007
UC users only

Currie, Hector
"Fritz Lang's M: symbol of transformation." In: Cinema drama schema: eastern metaphysics in Western art. p. 149-58 New York: Philosophical Library, c1985.
Main Stack PN1892.C8 1985 NRLF #: B 3 909 247
Moffitt PN1892.C8 1985

Dadoun, Roger.
"Metropolis: Mother-City - 'Mittler' - Hitler." Camera Obscura: A Journal of Feminism, Culture, and Media Studies vol. 15. 1986 Fall. pp: 137-163.
UC users only
Reprinted in: Close encounters: film, feminism, and science fiction / Constance Penley ... [et al.] p. 133-59. Minneapolis: University of Minnesota Press, c1991. Camera obscura book.
Main Stack PN1995.9.S26.C57 1991

Desser, David.
"Race, Space and Class: The Politics of the SF Film from Metropolis to Blade Runner." In: Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Philip K. Dick's Do Androids Dream of Electric Sheep? pp: 110-23. Bowling Green, Ohio: Bowling Green State University Popular Press,c1991.
Main Stack PN1997.B283.R4 1991

Dolgenos, Peter.
"The Star on C.A. Rotwang's Door: Turning Kracauer on its Head." (an analysis of Fritz Lang's film, the 'Metropolis') Journal of Popular Film and Television v25, n2 (Summer, 1997):68 (8 pages).
UC users only
" The half-Jewish film director Fritz Lang rejected propaganda minister Joseph Goebbel's offer of a top position in the newly Nazified German film industry and left the country to be one of Hollywood's leading directors of leftism and anti-Nazi films instead. One of Lang's controversial films, 'Metropolis', is criticized as portraying an overly simplistic message when examined from a political point of view. The film's plot is compared with the confusing activities of the National Socialist Party. Rotwang, the film's villain, is observed to possess several Jewish traits." [Expanded Academic Index]
"According to Joseph Goebbels, it was when he and Hitler went to see Metropolis in a small-town cinema that Hitler declared that Fritz Lang "will make the Nazi film." One can shed light on the ideology of Metropolis by comparing it with that of the National Socialist Party. The Nazis offered a critique of the industrial/capitalist civilization of their time, which bore roughly the same relation to a standard socialist critique as Metropolis does to a standard leftist film. Whereas the socialists spoke for those at the bottom of urban society, the Nazis, and ultimately Lang in this one film, spoke for those who were altogether outside society looking fearfully in. In the 1920s, the Nazis' support came disproportionately from rural areas, especially from people who distrusted modernization and urbanization and feared becoming proletarianized. To them, Metropolis--filled with futuristic architecture that the party rejected along with all modern art--might have seem ed real as a projection of their worst fears about the city." [Art Index]

Donahue, William Collins.
"The shadow play of religion in Fritz Lang's Metropolis." New England Review, Fall 2003 v24 i4 p207-221
UC users only
"William Collins Donahue expresses his experience after watching the film 'Metropolis' when his professor pressed them as undergraduates to attend a screening for reasons of cultural literacy. The film raises fundamental questions about the locus of potential and cultural authority as well as the nature of love and death." [Expanded Academic Index]

Eisner, Lotte H.
Fritz Lang / by Lotte H. Eisner; [translated by Gertrud Mander and edited by David Robinson]. pp: 83-94. New York: Oxford University Press, 1977, c1976.
UCB Main PN1998.A3 L357713 1977
UCB Moffitt PN1998.A3 L357

Eisner, Lotte H.
The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt / by Lotte H. Eisner; [translated from the French by Roger Greaves]. pp: 224-5; 235-6. Berkeley: University of California Press, 1973, c1969.
UCB Main PN1993.5.G3 E512 1973
UCB Media Ctr PN1993.5.G3E513 1969
UCB Moffitt PN1993.5.G3E513 1969

Elsaesser, Thomas
"Metropolis." (Review). Monthly Film Bulletin LI/611, Dec 84; p.363-364.

Elsaesser, Thomas
"Innocence Restored." Monthly Film Bulletin LI/611, Dec 84; p.365-366. illus. Considers the new score for "Metropolis" by Giorgio Moroder.

Fritz Lang's Metropolis: cinematic visions of technology and fear
Edited by Michael Minden and Holger Bachmann. Rochester, NY: Camden House, 2000.
Main Stack PN1997.M436; F75 2000

From Quasimodo to Scarlett O'Hara: A National Board of Review Anthology, 1920-1940
Edited by Stanley Hochman; introduction by Robert Giroux. pp: 86-8. New York: F. Ungar, [1982]. Series title: Ungar film library.
UCB Main PN1995 .F78

Geduld, Harry M.
Authors on Film. Edited by Harry M. Geduld. pp: 59-67. Bloomington, Indiana University Press [1972].
UCB Main PN1994 .G365

Gehler, Fred.
Fritz Lang, die Stimme von Metropolis / Fred Gehler, Ullrich Kasten.<1990> Berlin: Henschel, 1990.
UCB Main PN1998.3.L36; G44 1990

Geser, Guntram.
Fritz Lang: Metropolis und Die Frau im Mond: Zukunftsfilm und Zukunftstechnik in der Stabilisierungszeit der Weimarer Republik / Guntram Geser. 1. Aufl. Meitingen: Corian-Verlag H. Wimmer, 1996.
UCB Main PN1998.3.L36 G47 1996

Hales, Barbara.
"Fritz Lang's Metropolis and Reactionary Modernism."New German Review, vol. 8. 1992. pp: 18-30.

Higley, Sarah L.
"A Taste for Shrinking: Movie Miniatures and the Unreal City." Camera Obscura 16:247 [2001] 1-35
"The writer examines the reception of the illusion created by miniatures in seven films: Fritz Lang's Metropolis, David Butler's Just Imagine, Ridley Scott's Blade Runner, Tim Burton's Batman and Edward Scissorhands, and Alex Proyas's The Crow and Dark City. In each of these films, on which thousands or millions of dollars were spent on elaborate miniature photography, viewers are treated to an aerial vista of a city into which they descend along with the protagonists. While the express ambition of the effects artists is to provide an illusion of a believable city viewed from above, the full pleasure of the film relies on its being seen as a set to be gazed at, beyond anything that either Disneyland or the 1939 World's Fair could offer. Rather than menacing viewers, the filmic miniature permits them to disarm and colonize troubling cultural spaces in what it suggests and omits of America's actual inner-city problems." [Art Index]

Huyssen, Andreas.
"The Vamp and the Machine: Technology and Sexuality in Fritz Lang's Metropolis."New German Critique, vol. 24-25. 1981-1982 Fall-Winter. pp: 221-237.
UC users only

Jurkiewicz, Kenneth.
"Using Film in the Humanities Classroom: The Case of Metropolis." (science fiction film)(EJ Focus) English Journal v79, n3 (March, 1990):47 (4 pages).

Kaes, Anton.
"Cinema and Modernity: On Fritz Lang's 'Metropolis'." In: High and Low Cultures: German Attempts at Mediation / edited byReinhold Grimm and Jost Hermand. pp: 19-35. Madison, Wis.: Published for Monatshefte [by] University ofWisconsin Press, c1994.
Main Stack NX550.A1.H54 1994

Kaes, Anton.
"Metropolis (1927) : city, cinema, modernity." In: Weimar cinema : an essential guide to classic films of the era / edited by Noah Isenberg. New York : Columbia University Press, c2009.
Main (Gardner) Stacks PN1993.5.G4 W357 2009

Kaes, Anton.
"Modernity and Its Discontents: Notes on Alterity in Weimar Cinema." Qui Parle: Literature, Philosophy, Visual Arts, History vol. 5 no. 2. 1992 Spring-Summer. pp: 135-42.

Kaufman, Anthony
"Film: Synthetic Vision: Rebuilding a 'Metropolis'." The Village Voice 47:29 [23 July 2002] 110

Kerr, John Finlay.
"The Cultural Architect of Metropolis." Screen Education, Winter2008 Issue 50, p105-110, 6p
UC users only
"The article discusses how the science fiction motion picture "Metropolis" can be used as an educational tool. The film, directed by Fritz Lang, depicts class struggles in a futuristic city. The author notes scenes missing from the film and suggests students could film their own versions of these scenes. He notes the themes of modernism in the film, the influence of myths and other narratives on the story and the depiction of art deco architecture." [Ebsco]

Klawans, Stuart
"The mechanical bride." In:Film follies: the cinema out of order / Stuart Klawans. p. 69-98. London ; New York Cassell, 1999.
Main Stack PN1995.9.E79.K63 1999

Kracauer, Siegfried
From Caligari to Hitler, A psychological History of the German Film, by Siegfried Kracauer. pp: 149-50; 162-4. [Princeton, N.J.] Princeton university press, 1947.
UCB Main PN1993.5.G3 K71 1947
UCB Moffitt PN1993.5.G3 K7

Lambert, Elizabeth.
"Mrs. Dalloway Meets the Robot Maria." In:Virginia Woolf and the Arts: Selected Papers from the Sixth Annual Conference on Virginia Woolf, Clemson University, Clemson, SC, June 13-16, 1996 / edited by Diane F. Gillespie and Leslie K. Hankins. New York: Pace University Press; Lanham, Md.: University Pub. Associates [distributor], 1997.
UCB Main PR6045.O72 Z5787 1996

Leblans, Anne
"Inventing male wombs: the fairy-tale logic of Metropolis." In:Peripheral visions: the hidden stages of Weimar cinema / edited by Kenneth S. Calhoon. p. 95-119. Detroit: Wayne State University Press, c2001. Kritik (Detroit, Mich.)
UCB Main PN1993.5.G3.P39 2001

Lungstrum, Janet.
"Metropolis and the Technosexual Woman of German Modernity." In: Women in the Metropolis: Gender and Modernity in Weimar Culture / edited by Katharina von Ankum. pp: 128-44. Berkeley: University of California Press, c1997.
Main Stack HQ1623.W66 1997

Mellencamp, Patricia
"Oedipus and the Robot in Metropolis." (Article). Enclitic V/1, Spring 81; p.20-42. illus.
Discusses "Metropolis" with reference to Kracauer, Paul Jensen and others, and woman and special effects.

"Metropolis" (movie Review), New York Times, Mar. 7, 1926, p. 16

"Metropolis" (movie Review), New York Times, Mar. 6, 1926, sect. 8, p. 7

Metropolis : ein filmisches Laboratorium der modernen Architektur = Metropolis : a cinematic laboratory for modern architecture
Herausgegeben von Wolfgang Jacobsen, Werner Sudendorf ; mit Beitragen von Martin Koerber, Yvonne Rehhahn. Stuttgart : Menges, c2000.
Environ Dsgn PN1997.M436.M48 2000
Table of Contents (via Google Books)

Michel, Andreas
"Technology and Dystopia: H. G. Wells, Metropolis, and the Science Fiction City." In: The image of the city in literature, media, and society : selected papers / edited by Will Wright an Society for the Interdisciplinary Study of Social Imagery. Conference (13th : 2003 : Colorado Springs, Colo.) Pueblo, Colo. : Society for the Interdisciplinary Study of Social Imagery, [2003]
Main (Gardner) Stacks

Milner, Andrew
"Darker cities." International Journal of Cultural Studies; Sep2004, Vol. 7 Issue 3, p259-279, 21p
UC users only

Minden, Michael.
"The City in Early Cinema: Metropolis, Berlin and October."In: Unreal City: Urban Experience in Modern European Literature and Art / edited by Edward Timms and David Kelley. pp: 193-213. Manchester: Manchester University Press, c1985.
Environ Dsgn NX542.U571 1985)

Minden, Michael.
"Fritz Lang's Metropolis and the United States." German Life & Letters. 53(3):340-50. 2000 July
" Discusses German filmmaker Fritz Lang's 1928 antitechnology movie, Metropolis, noting the role thatAmerican culture and technology played in the creation anddistribution of the movie in Europe." [Historical Abstracts]
UC users only

Naundorr, Karen.
"The Metropolis mystery." Sight & Sound, Sep2008, Vol. 18 Issue 9, p26-29, 4p
UC users only
"The article reports on the discovery of missing scenes of the film "Metropolis" directed by Fritz Lang. Discovered in Buenos Aires, Argentina by museum employee Paula Félix-Didier, the silent German film tells the story of a ruler's son who falls in love. The article explores the critical evaluation of the missing scenes and the critical reception by experts of the film." [Ebsco]

Neumann, Dietrich.
"The Urbanistic Vision in Fritz Lang's Metropolis." In:Dancing on the Volcano: Essays on the Culture of the Weimar Republic / edited by Thomas W. Kniesche, Stephen Brockmann. pp: 143-62. Columbia, SC, USA: Camden House, c1994. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack DD239.D36 1994

Notaro, Anna.
"Futurist Cinematic Visions and Architectural Dreams in the American Modern(ist) Metropolis." Irish Journal of American Studies. 9:161-83. 2000

O'Sullivan, Jane
"Virtual Metamorphoses: Cosmetic and Cybernetic Revisions of Pygmalion's "Living Doll."" Arethusa; Winter2008, Vol. 41 Issue 1, p133-156, 24p
UC users only

Ott, Frederick W.
The Films of Fritz Lang / by Frederick W. Ott. pp: 123-41 1st ed. Secaucus, N.J.: Citadel Press, c1979.
UCB Main PN1998.A3 .L364

Patalas, Enno.
"Metropolis, Scene 103." Camera Obscura: A Journal of Feminism, Culture, and Media Studies vol. 15. 1986 Fall. pp: 164-173.
UC users only

Patalas, Enno.
Metropolis in/aus Trummern: eine Filmgeschichte / Enno Patalas. Berlin: Bertz, c2001.
Main Stack PN1997.M436; P38 2001

Pike, David L.
"'Kaliko-Welt': The Grosstadte of Lang's Metropolis and Brecht's Dreigroschenoper." MLN, vol. 119, no. 3, pp. 474-505, Spring 2004.
UC users only

Pratt, George C.
Spellbound in Darkness; A History of the Silent Film [by] George C. Pratt. pp: 386-9.[Rev. ed.]. Greenwich, Conn., New York Graphic Society [1973].
UCB Main PN1993.5.A1 P71 1973
UCB Moffitt PN1993.5 A1 P7 1973

Roth, L.
"Metropolis, the Lights Fantastic: Semiotic Analysis of Lighting Codes in Relation to Character and Theme." Literature/Film Quarterly VI/4, Fall 78; p.342-346. illus.

Rotondi, Cesar J.
"The 1984 Review, the 1927 Review, Fritz Lang: The Maker of Metropolis."Films in Review v. 35 (Oct. '84) p. 464-9.
Discusses "Metropolis" and reprints the original 1927 'Films in Review' critique of the film along with a review of the current re-issue.

Ruppert, Peter.
"Technology and the Construction of Gender in Fritz Lang's Metropolis."Genders 2000, 32, 29 paragraphs.
UC users only

Ruppert, Peter.
"Fritz Lang's Metropolis and the Imperatives of the Science Fiction Film." Seminar: A Journal of Germanic Studies, vol. 37, no. 1, pp. 21-32, February 2001

Rutsky, R. L.
"The Mediation of Technology and Gender: Metropolis, Nazism, Modernism." New German Critique, No. 60, Special Issue on German Film History. (Autumn, 1993), pp. 3-32.
UC users only

Saada, Nicolas
"Fritz Lang et le paradis artificiel." Cahiers du Cinéma no433 June 1990. p. 41

Sawyer, Andy.
"More than Metaphor: Double Vision in Lang's Metropolis." Foundation: The Review of Science Fiction, vol. 64. 1995 Summer. pp: 70-81.

Stoicea, Gabriela.
"Re-Producing the Class and Gender Divide: Fritz Lang's Metropolis." Women in German Yearbook, 2006 Issue 22, p21-42, 22p
UC users only
"The article discusses the economy of gender relations in the motion picture "Metropolis," directed by Fritz Lang. According to the author, the movie translates the inversion of causality between work and sexuality that Karl Marx introduced after the Saint-Simonians. She assesses that Lang and screenwriter Thea von Harbou move towards their own understanding of the relationship by keeping women either completely outside the cinematic space." [ProQuest]

Steinbrunner, Chris.
Cinema of the Fantastic, by Chris Steinbrunner and Burt Goldblatt. pp: 15-32. New York, Saturday Review Press [1972].
UCB Main PN1995.9.F36 .S73

Taylor, John Russell
"Metropolis." (Review). Films & Filming 363, Dec 84; p.41.

Telotte, J. P.
"Just Imagine-ing the Metropolis of Modern America." Science-Fiction Studies, vol. 23 no. 2 (69). 1996 July. pp: 161-70.

Telotte, J. P.
"The Seductive Text of "Metropolis"." South Atlantic Review, Vol. 55, No. 4. (Nov., 1990), pp. 49-60.
UC users only

Telotte, J. P.
"The Seductive Text of "Metropolis." In: Replications : a robotic history of the science fiction film Urbana : University of Illinois Press, c1995.
MAIN: PN1995.9.S26 T46 1995
MOFF: PN1995.9.S26 T46 1995)

Thomsen, Christian W.
"Mediarchitecture: stages in the evolution I." (from panorama and diorama to Le Corbusier's Philips Pavilion at Expo '58) A-+-Uno282 Mar 1994. p. 94-111
"The writer traces a history of the relationship between visual media and architecture. The Panorama- and Diorama-buildings created between 1780 and 1840 used photorealistic painting to achieve perfect simulation of such scenes as land- and cityscapes. The form of these buildings was derived strictly from their function; they thus became the models for a wide variety of 20th-century media-oriented building types for motion pictures, exhibitions, concerts, and fairs. With the advent of film, special architectural models or semi-permanent architectures were created, while architectonic imagery also began to appear in film itself. The most important example of this development is Fritz Lang's Metropolis (1926), which combines architecture with light and movement. Making extensive use of glass and skeleton construction, Mies van der Rohe's architecture can also be interpreted as a exploitation of dramatic light effects, while Le Corbusier's Philips pavilion at the 1958 Brussels world exposition was erected as a "Poeme Electronique," a complex structure creating a virtual space surrounded by sequences of images, colors, and sounds. Current experiments with cyberspace and architecture explore a multimedia synthesis of art and architecture." [Art Index]

Trutnau, John-Paul.
"Fritz Lang's Metropolis and its influence on the American science fiction film : Blade Runner, Terminator I + II." Essen : Blaue Eule, c2005.
MAIN: PN1997.M436 T78 2005

Unreal city: urban experience in modern European literature and art
Edited by Edward Timms and David Kelley. Manchester : Manchester University Press, c1985.
Environ Dsgn NX542.U571 1985

Ward, Graham.
"The Secular City and the Christian Corpus." Cultural Values, Apr99, Vol. 3 Issue 2, p140, 24p
UC users only
Beginning with a discussion of Fritz Lang's 'Metropolis', this paper considers the rise of the city from a theological perspective. The ideal of the modern city was, it is argued, a secularised version of the City of God: the city was to be a place where all human desires might be met, a city without a church because the moral perfection of each human being has been fulfilled. The advent of the postmodern city of consumerist desire undermines this secular dream, and opens a space for theologians to frame alternative visions of cities of erotic participatory desire. [ABSTRACT FROM AUTHOR]

Wiener, T.
"Oh, no, Giorgio." (Metropolis) American Film v 9 May 1984. p. 8

Williams, Alan
"Structures of Narrativity in Fritz Lang's "Metropolis"" Film Quarterly 27:4 (1974:Summer) 17
UC users only

Rancho Notorious

Black, D.A.
"Genette and Film: Narrative Level in the Fiction Cinema."Wide Angle VIII/3-4, 86; p.19-26. illus.
On the problems of applying G?rard Genette's literary theory of narrative to film. Looks particularly at "Rancho Notorious".

Wild, Florianne
"Rewriting allegory with a vengeance: textual strategies in Fritz Lang's Rancho Notorious." Mosaic (Winnipeg) Sept 2002 v35 i3 p25(14)
UC users only
Fritz Lang's Western Rancho Notorious is proposed as allegory, not in theliterary-historical mode, but as an attitude or perception occurring whenone text is seen to double another. This essay pursues the idea of film asrebus, as a narrative "other," allowing us to see beyond the traditional ormodernist view, which is antithetical to allegory." [Expanded Academic Index]

Scarlet Street

Benson, E.
"Decor and Decorum: From La Chienne to Scarlet Street: Franco-U.S. Trade in Film during the Thirties." Film & History XII/3, Sept 82; p.57-65. On the influence of economic tendencies and regulation on French and US films during the 1930's and 1940's, with reference to "La Chienne" and "Scarlet street".

Bernstein, Matthew.
"A Tale of Three Cities: The Banning of Scarlet Street." Cinema Journal, vol. 35 no. 1. 1995 Fall. pp: 27-52.
UC users only
"The writer discusses the disputes between Universal Pictures and censors in New York state, Milwaukee, and Atlanta concerning the banning of the film Scarlet Street (1945). He describes attempts by the film's executive producer, Walter Wanger, to combat this censorship. He examines the disputes from a cultural studies perspective and notes that because the same film noir movie was banned in three different regions and markets of varying importance at the same time, it allows us to see how differently a distributor would handle diverse situations at a given moment. He explains that the playing out of the disputes was an effort by the censors to keep whatever social authority they had. In cultural studies terms, the writer argues, censors offered a conservative resistance to Hollywood's hegemony as a supplier of mainstream popular culture; these disputes were indicative of Hollywood's uncertain status in post-World War II America." [Art Abstracts]

Biesen, Sheri Chinen
"Fritz Lang's Woman in the Window and Scarlet Street." In: Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.
MAIN: PN1995.9.F54 B53 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Conley, Tom
"The law of the letter: Scarlet Street." In: Film hieroglyphs: ruptures in classical cinema / Tom Conley. pp: p. 20-45 Minneapolis: University of Minnesota Press, c1991.
Full-text available online (UC Berkeley users only)
Main Stack PN1995.C63 1991

Conley, Tom
"Writing Scarlet Street." MLN, Vol. 98, No. 5, Comparative Literature. (Dec., 1983), pp. 1085-1120.
UCB Users Only

Dorn, Norman K.
"Harrowing action in 'Scarlet street' and 'the big heat'." San Francisco Sunday Examiner & Chronicle - 1975 Jan 12
CineFiles (Pacific Film Archive)

Fine, David.
"From Berlin to Hollywood: Echoes of Expressionism in Fritz Lang's The Woman in the Window and Scarlet Street" Literature/Film Quarterly. 2007. Vol. 35, Iss. 4; p. 282 (12 pages)
UC users only

Fritz Lang, the image and the look
Edited by Stephen Jenkins. London: BFI Pub., 1981.
Main Stack PN1998.A3.L3583
CineFiles (Pacific Film Archive)

Hall, Jeanne.
""A Little Trouble with Perspective": Art and Authorship in Fritz Lang's 'Scarlet Street.'" Film Criticism v21, n1 (Fall, 1996):34 (14 pages).
UCB Users Only
"The writer discusses representations of art and aesthetics in Fritz Lang's 1945 film Scarlet Street. This film, which centers around the character of Christopher Cross (Edward G. Robinson), a professional cashier and amateur painter, encourages the viewer to reflect on the socially-constructed and class-based nature of art and aesthetics by sustaining ambiguity regarding the "true" status of Chris's art. This is achieved by declining to take a stance on the true aesthetic value of Chris's paintings, focusing instead on the manner in which they are dismissed as "kitsch" when seen as the work of a petit bourgeois cashier, but elevated to the status of "Art" when admired by experts from the art world and patrons from the ruling class. Scarlet Street raises important questions about the premises and pretenses of the art world and the gap between high and low culture." [Art Index]

Jacobwitz, Florence.
"The Man's Melodrama: Woman in the Window and Scarlet Street." CineAction! n 13/14 1988. pp: 64-73.

Jameson, Richard
"Scarlet street." - Kit Parker Films - 1979 - distributor materials
CineFiles (Pacific Film Archive)

Jacobowitz, Florence.
"The woman in the window and Scarlet Street." In: The Book of film noir / edited by Ian Cameron. New York : Continuum, c1993.
Moffitt PN1995.9.F54.B66 1993
PFA : PN1995.9.F54 M68 1992

Juan, Luis de
"Dissolves, mise-en-sc`ene and psychoanalysis : the sombre view of society in Scarlet street." In: Flashbacks : re-reading the classical Hoyllywood [sic] cinema / [editor Celestino Deleyto]. [Zaragoza] : Servicio de Publicaciones, Universidad de Zaragoza, 1992.
PFA PN1993.5.U6.F57 1992x

Kaplan, E. Ann
"Ideology and Cinematic Practice in Lang'sScarlet Street and Renoir's La Chienne."Wide Angle 1983; 5(3): 32-43.

Kurman, George.
"'Scarlet Street': A "Remake" with a Key." (motion picture remake of Jean Renoir's 'La Chienne,' 1931) Literature-Film Quarterly v18, n2 (April, 1990):111 (5 pages).
Compares two adaptations of Georges de la FouchardiŠre's novel 'La chienne': Renoir's film of the same name and Fritz Lang's "Scarlet Street"; focuses esp. on reasons for the change in name of the central characters.

Morrison, James.
"Cultural Hierarchy in Scarlet Street." Arizona Quarterly, vol. 52 no. 1. 1996 Spring. pp: 125-61.
"Describes how Fritz Lang's film Scarlet Street (1945) reworks the conventions of film noir in order to examine a set of cultural hierarchies that emerged in the United States during and after World War II. The film comments on the postwar juxtaposition of mass culture, female sexuality, and foreignness with American culture, high art, and masculine power." [From ABC-CLIO America: History and Life]

Morrison, James.
"Masscult modernism, modernist masscult: cultural hierarchy in Scarlet Street." In: Passport to Hollywood: Hollywood films, European directors. pp: p. 109-42 State University of New York Press, c1998.SUNY series in postmodern culture.
Main Stack PN1993.5.U6.M656 1998

"Scarlet Street." Universal Pictures - c1945 - 10 pages - - exhibitor manualCineFiles (Pacific Film Archive)

Siegfried

Bratton, Susan Power
"From Iron Age Myth To Idealized National Landscape: Human-Nature Relationships and Environmental Racism in Fritz Lang's Die Nibelungen." Worldviews: Environment, Culture, Religion Volume 4, Number 3 November 2000 Pages: 195 - 212
UC users only
" From the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang's Weimar film production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dominates over nature in his dragon slaying. Lang removes the strong family relationships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting fish, and thereby indistinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereotypes and healthy or organic nature. Lang's Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the film by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern ''hero'' to romanticize himself and, without the aid of deities, to become superhuman." [Author Abstract]

Hake, Sabine.
"Architectural Hi/Stories: Fritz Lang and The Nibelungs." Wide Angle, vol. 12 no. 3. 1990 July. pp: 38-57.

Hauer, Stanley R.
"The Sources of Fritz Lang's 'Die Nibelungen.'" Literature-Film Quarterly v18, n2 (April, 1990):103 (8 pages). Studies the mythological sources of Lang's film.
UC users only

Kramer, S.P.
"Fritz Lang's Definitive Siegfried and its Versions." Literature/Film Quarterly XIII/4, Oct 85; p.258-274. illus.
On variations between the different versions of F.L.'s "Die Nibelungen".

Levin, David J.
Richard Wagner, Fritz Lang, and the Nibelungen: The Dramaturgy of Disavowal / David J. Levin. Princeton, N.J.: Princeton University Press, c1998. Series title: Princeton studies in opera.
UCB MusicML410.W22 L48 1998

Siclier, Jacques
"Wagner et Fritz Lang (La Mort de Siegfried)." Cahiers du cin?ma 10:60 (1956:juin) 42

Stiles, Victoria M.
"Fritz Lang's Definitive Siegfried and Its Versions." Literature/ Film Quarterly, vol. 13 no. 4. 1985. pp: 258-274.

Stiles, Victoria M.
"The Siegfried Legend and the Silent Screen: Fritz Lang's Interpretation of a Hero Saga." Literature/Film Quarterly 8:4 (1980) 232.
UC users only
Analysis focusing on the literary aspects of "Die Nibelungen", esp. the function of symbolic imagery in 'Part 1: Siegfried'.

Winkler, Martin M.
"Fritz Lang's mediaevalism: From Die Nibelungen to the American West." Mosaic : a Journal for the Interdisciplinary Study of Literature. Mar 2003. Vol. 36, Iss. 1; p. 135 (12 pages)
UC users only

Wirwalski, Andreas
Wie macht man einen Regenbogen?: Fritz Langs Nibelungenfilm: Fragen zur Bildhaftigkeit des Films und seiner Rezeption / Frankfurt am Main; New York: P. Lang, c1994.
Main Stack PN1997.N5133; W57 1994 Storage Info: B 4 006 665

Spies

O'Brien, Geoffrey
"Spies" (motion picture review) Film Comment v 31 July/Aug 1995. p. 66-9
Spies, German director Fritz Lang's first independent production, virtually inaugurated the spy genre. Made in 1927, the film features a number of bravura passages, including a stunning opening montage. The writer discusses the conventions of the spy movie.

Woman in the Moon (Frau im Mond)

Geser, Guntram.
Fritz Lang: Metropolis und Die Frau im Mond: Zukunftsfilm und Zukunftstechnik in der Stabilisierungszeit der Weimarer Republik / Guntram Geser. 1. Aufl. Meitingen: Corian-Verlag H. Wimmer, 1996.
UCB Main PN1998.3.L36 G47 1996

Woman at the Window

Cossar, Harper
"'Wait, how did I miss that?:' Understanding the 'twist' in Fritz Lang's The Woman in the Window." Quarterly Review of Film & Video; Jan2009, Vol. 26 Issue 1, p10-19, 10p
UC users only

Fine, David.
"From Berlin to Hollywood: Echoes of Expressionism in Fritz Lang's The Woman in the Window and Scarlet Street" Literature/Film Quarterly. 2007. Vol. 35, Iss. 4; p. 282 (12 pages)
UC users only

Jacobowitz, Florence.
"The woman in the window and Scarlet Street." In: The Book of film noir / edited by Ian Cameron. New York : Continuum, c1993.
Moffitt PN1995.9.F54.B66 1993
PFA : PN1995.9.F54 M68 1992

Klevan, Andrew
"The Purpose of Plot and the Place of Joan Bennett in Fritz Lang's The Woman in the Window." CineAction, vol. 62, pp. 15-21, 2003
UC users only

Walters, James (James R.)
In: "Making it Home: The Wizard of Oz (Victor Fleming, 1939) The Woman in the Window (Fritz Lang, 1944)" In: Alternative worlds in Hollywood cinema : resonance between realms / James Walters. Bristol, UK ; Chicago : Intellect, 2008.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 W35 2008

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