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A true cinematic pioneer, Fritz Lang began his film career as a writer and director of silent movies in Germany between the World Wars. His early films, such as Dr. Mabuse, Metropolis, and his first "talkie," "M", have become classics, and positioned him as a leading light in the German film industry in the early 1930s. Fleeing from the Nazis in 1933, Lang went to Hollywood, where he earned legendary status for such films as Man Hunt, The Big Heat, and While the City Sleeps, movies that did much to define the look of film noir. His influence on such filmmakers as Alfred Hitchcock, Michael Powell, and others is unmistakable. This major retrospective book is copiously illustrated with film stills and photographs from his films as well as from his private life. It includes detailed information about his life and work in both Berlin and Hollywood, and will be the most extensive consideration of his oeuvre to date.
Medical histories of Belgium reshapes Belgian history of medicine by bringing together a new generation of scholars. Going beyond a chronological narrative, the book offers new insights by questioning classic themes of the history of medicine: physicians, institutions and the nation state. While retracing specific Belgian characteristics, it also engages with broader European developments in the nineteenth and twentieth centuries. Medical histories of Belgium will appeal to Historians of Belgium in various subfields, especially cultural history and political history and medical historians and medical practitioners seeking the historical context of their activities.
The recent centenary of the motion picture prompted the Belgian Royal Film Archive to compile an encyclopedia of the history of Belgian film. The country has produced a considerable cinematic output over the past hundred years, with a total of some 1,500 titles, including every imaginable genre, from documentaries to war films, romantic dramas, slapstick, animation, art movies and experimental films. This book is published in collaboration with the Royal Film Archive. The book contains a broad survey of 100 years of Belgian cinema history, from masterpieces of silent filmmaking to recent highlights like the 1992 film Daens. This comprehensive, easy-to-use, and attractively illustrated reference work is an important scholarly addition to all serious film libraries.
Written in both English and French, The 9.5mm Vintage Film Encyclopaedia provides a single-volume, comprehensive catalogue of all known 9.5mm film releases, including: Films: Comprising 12,460 individual entries, this A-Z reference index provides the main listing for each film and its origin where known, along with additional information including cast and crew, and cross references to other relevant material. People: This index of all known actors and film crew, comprising over 12,000 names, provides a listing which is cross referenced to the main entry for each original film they worked on. Numbers: Pathé-Baby/Pathéscope and other distributors’ catalogue numbers, film length, release dates (where known) and the series in which the films were organised, are set out in detail. With a foreword from eminent film historian and filmmaker, Keith Brownlow, this extensively researched text explains the importance of the 9.5mm film, from its beginnings in the early 1920s to becoming synonymous with Home Cinema throughout Europe. Readers will also find a brief technical explanation on how 9.5mm films were produced, along with relevant images.
The first decades of the twentieth century were pivotal for the historical and formal relationships between early cinema and Cubism, mechanomorphism, abstraction, and Dada. To examine these relationships, Jennifer Wild’s interdisciplinary study grapples with the cinema’s expanded identity as a modernist form defined by the concept of horizontality. Found in early methods of projection, film exhibition, and in the film industry’s penetration into cultural life by way of film stardom, advertising, and distribution, cinematic horizontality provides a new axis of inquiry for studying early twentieth-century modernism. Shifting attention from the film to the horizon of possibility around, behind, and beyond the screen, Wild shows how canonical works of modern art may be understood as responding to the changing characteristics of daily life after the cinema. Drawing from a vast popular cultural, cinematic, and art-historical archive, Wild challenges how we have told the story of modern artists’ earliest encounter with cinema and urges us to reconsider how early projection, film stardom, and film distribution transformed their understanding of modern life, representation, and the act of beholding. By highlighting the cultural, ideological, and artistic forms of interpellation and resistance that shape the phenomenology of a wartime era, The Parisian Avant-Garde in the Age of Cinema, 1900–1923 provides an interdisciplinary history of radical form. This book also offers a new historiography that redefines how we understand early cinema and avant-garde art before artists turned to making films themselves.