| Preface and Acknowledgments |
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ix | |
| Introduction: Standing Outside the Films - Emblems |
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The Inscribed/Imprinting Hand |
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1 | (3) |
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The Screening Room: `Strange but True' |
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4 | (4) |
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The Interview and the Clock |
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8 | (7) |
| PART I: Reading the Text of Death -- Lang's Silent Allegories: Der mude Tod (1921), Die Nibelungen (1924), Metropolis (1927) |
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The Marchen: Der mude Tod -- Death and the Maiden |
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Who Tells the Timely Story of Death? |
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15 | (7) |
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The Allegory of the Maiden: Reading and Desire |
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22 | (8) |
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Final Figure: The Look at the Camera |
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30 | (4) |
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The Decay of Myth: Siegfried's Death, Kriemhild's Revenge |
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34 | (447) |
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Metropolis: The Dance of Death |
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The Allegory of the Machine |
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52 | (4) |
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The Universal Language of Silent Film |
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56 | (6) |
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Demons of Energy: Who Rules the City of Metropolis? |
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62 | (2) |
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Gothic Modernism: Technology as Modern Magic |
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64 | (4) |
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Oedipal Nightmares, Allegorical Riddles |
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68 | (9) |
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Apocalypse without End, Endings without Conviction |
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77 | (3) |
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80 | (7) |
| PART II: The Mastery of Crime -- Lang's Urban Thrillers: Dr. Mabuse, the Gambler (1922), Spies (1928), The Testament of Dr. Mabuse (1932) |
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Mabuse, Grand Enunciator: Control and Co-ordination |
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The Sensation-film and the Spaces of Modernity |
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87 | (7) |
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The Terrain of Modernity: Space, Time and the Mastery of Communication |
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94 | (5) |
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The Mechanical Production of Counterfeit Identity |
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99 | (9) |
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The Grand Enunciator and the Power of the Gaze |
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108 | (5) |
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113 | (4) |
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The Evil Genius/Mauvais genie |
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117 | (6) |
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123 | (4) |
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Building Identity from Fragments |
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127 | (7) |
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Finale: Bringing Down the House |
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134 | (5) |
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The Testament of Dr. Mabuse |
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A Message, Condemned to Death, Has Escaped |
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139 | (7) |
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`Pay No Attention to that Man behind the Curtain' |
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146 | (9) |
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The Same Old Song, but with a Different Meaning (Since You've Been Gone) |
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155 | (8) |
| PART III: Hinge -- M (1931) |
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M: The City Haunted by Demonic Desire |
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`Oh Mother I Am Lost!' The Murder of Elsie Beckmann |
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163 | (12) |
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Formed in Fright: The Topography of Terror |
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175 | (9) |
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184 | (8) |
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The People vs Hans Beckert |
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192 | (11) |
| PART IV: Fritz Lang's America - The Social Trilogy: Fury (1936), You Only Live Once (1937), You and Me (1938) |
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You Ought to Be in Pictures: Liliom and Fury |
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The Flight of the Refugee |
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203 | (9) |
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Meet John Doe: Lang Arrives in America |
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212 | (7) |
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A Whole Town of John Does: The Lynching of Joe Wilson |
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219 | (7) |
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`You Can Have the Strand in Your Own Town': Joe Wilson's Private Theatre |
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226 | (9) |
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235 | (10) |
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Identities Assembled and Expunged in a Carceral Society |
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245 | (5) |
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The Re-educating of Joan Graham Taylor |
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250 | (11) |
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A `Cinematic Hash': Experimental Cross-breeding among the Hollywood Genres |
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261 | (11) |
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You Can Not Get Something for Nothing |
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272 | (11) |
| PART V: Framing Desire: The Woman in the Window (1944), Scarlet Street (1945), The Secret Beyond the Door (1948), House by the River (1950) |
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The Woman in the Window: Cycles of Desire |
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Prelude to Nightmare: Shop Window Sweetheart |
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283 | (10) |
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The Paranoid World Made of Glass |
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293 | (6) |
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299 | (8) |
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Scarlet Street: Life Is a Nightmare |
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307 | (6) |
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The Fourteen-Carat, Seventeen-Jewel Cashier |
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313 | (10) |
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The Artist's Signature and the Mourning Play of the Melancholy Baby |
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323 | (9) |
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No Perspective: The Cancelling Out of Chris Cross |
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332 | (8) |
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Secret Beyond the Door: Broken Frames and Piercing Gazes |
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340 | (9) |
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Speaking and Seeing: A Woman's View and Voice |
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349 | (5) |
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Unlocking Bluebeard's Seventh Room |
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354 | (8) |
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362 | (6) |
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Effacing the Traces and Writing the Abject |
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368 | (10) |
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The Flow of the Writer's Hand |
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378 | (11) |
| PART VI: The 50s Exposes and Lang's Last Testament: The Blue Gardenia (1953), The Big Heat (1953), While the City Sleeps (1955), Beyond a Reasonable Doubt (1956), The Thousand Eyes of Dr. Mabuse (1960) |
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Contradictions of a Decade |
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389 | (6) |
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395 | (7) |
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402 | (6) |
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408 | (7) |
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The Construction of Authority |
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415 | (6) |
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421 | (7) |
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The Big Heat Falls Alike on the Just and the Unjust |
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428 | (6) |
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While the City Sleeps/Beyond a Reasonable Doubt |
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The News is Made at Night |
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434 | (5) |
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Television, Person to Person |
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439 | (8) |
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447 | (10) |
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The Circle Closes on the Last Mabuse |
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Return to the Scene of the Crime |
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457 | (8) |
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Recycled Vision, Feigned Blindness, Total Exposure |
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465 | (6) |
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The Site of Remembering and Forgetting in Late Modernity |
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471 | (4) |
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The Death of Cinema, Cinema and Death |
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475 | (6) |
| Notes |
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481 | (26) |
| Bibliography |
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507 | (12) |
| Index |
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519 | |
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