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

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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

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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

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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

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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

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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

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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

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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

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