Papers > Publications > Lang_terreur

Symptom, exhibition, anxietyrepresentation of terror in the German work of Fritz Lang(1919-1933 / 1959-1960)Nicole Brenez

Iconographic issueThe German work of Fritz Lang raises issues that involve the very foundations of the

concept of iconology: how accurately reflect the nature of the woven between aestheticrepresentation and the "principles which are the links mentality of a nation , a period, a

class 1 "? Critics have often emphasized the close relationship that unites the Germanhistory of the twenties and thirties and work of Lang, but the evidence of this link hassomehow never to ask for it itself. We also support that the character of M "represents" the

Nazi paranoid tendencies that the sociology of their victims 2 .

Suffice to say that the "iconologic link" is taken for surgery before being analyzed in itsdetail. So we read, lawfully moreover, the work ofLang in his documentary appearance as a pureand simple image of his time (Ein Bild der Zeit, itis the subtitle of Mabuse, der Spieler) that mustdecipher as novels Keywords: player = Mabusethe spirit of inflation, the Mabuse Testament =Hitler of the Mabuse Tausend Augen = Americancapitalism and the power of the media. It forgetsthat when Lang wishes to represent it involves, itis straightforward: in Spione, Rudolph Klein-Rogge reproduces every feature Lenin's face. Butthis figural excess engenders critical confusionsince exegete of his own work, Fritz Langoperates a superb repository transfer wherebyLenin (political leader) serves as a mask toTrotsky (military leader): "The fictional characterHaghi, super- spy was played by actor Klein-Rogge with makeup evoking the political super-

brain Trotsky 3 . "

Top: Rudolph Klein-Rogge in the role ofHaghi (Spione, 1928), bottom: Lenin.

The film works great fiction to be in document: it's reading that Lang has continued toclaim - to the point that Metropolis in his eyes, will find grace when the actual finally join

something storytelling Film 4 . But by what means the film he accede to this documentary

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/&usg=ALkJrhh-LFHt5YRollX6km98MyYo_oTaEghttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications&usg=ALkJrhiTw1SAsqiLaVpf22HxhrGjDUrPyAhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote1http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote2http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote3http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote4

dimension? By observation? The descriptive emphasis? The key index? Conversely,paradoxical hypothesis forms through which the film Lang says the documentary wouldbe: not the fieldwork, but the powers of imagery, not an observation protocol, but areliance on language , not the singularity of the plan, but the figurative system.

To take stock of the langienne exegesis, we realize that set the image of an anti-Nazicontinuously Lang, supported in this by the statements of the master in the U.S. in 1943:Das Testament of Dr. Mabuse ( 1932) "was created as an allegory to show Hitler's terrorist

methods 5 . " Through this statement and others converging on helping to erase theassumption of a first anti-communist Lang, as do not forget to report Courtade and Cadars6 : "For the public in 1932, Mabuse could embody the spider either Hitler or the eye ofMoscow ", and as confirmed by the character of Haghi-Lenin Spione (1928). FigureMabuse presented in 1922 is in fact so romantic and archetypal it could then be referred,and by Lang and his audience, the existence of the most threatening real autocrat, themaster of history the time.

For what mobilizes Lang first is not a man, a singular being, but a phenomenon. Thatinterests us, he has called "the crime in the social structure": "The original film [M] wasentirely related to curious years around 1930 in Berlin, and the equally curious situation of

crime in the social structure of the thirties 7 . "

"1922: crime pays," said a carton of Mabuse. The portrait of the structural crime isprimarily a matter of monetary imagery. Packages are systematically Mabuse financial(stock shot, cheating the game and counterfeit money - in the novel by Norbert Jacques,

interior monologues Mabuse count and recount endless money to calculate the weight 8 ).Are asked and economic determinations terror incubated together Lang began hisreflection on it.

Through the figure of supercriminel, the film deals with the modern tyranny as it isfactually when Lang represents: a "society of conspiracy." Hitler memory October 22, 19229 : "We will also create a movement qu'animera force the most fanatical and spirit of themost brutal decision that will be ready at all times to oppose terrorism a ten times higherthan that of Marxism . "We borrow the term society conspiracy Georges Bataille andRoger Caillois who among the" elective communities, "specify the company as an activistand secret plot in" connection with a mysterious "space center (see the blind cave Mabuseand bunker Haghi) and cemented by "elements terrification." "The elective community or"secret society "is a form of secret organization (...) that the action is always possible when

the primary organization of the company can not meet all the aspirations that emerge 10 . "

Moreover, associative form of political activity is a dominant feature of sociologicalGermany at the end of ten years: "In the city of Munich, in 1919 there were nearly fifty

associations more or less policies 11 . "In 1922, the criminal organization Mabuse remainsat the level of a mansion: driver, secretary, Jack, in 1928, that of Haghi is global: inflationcrime.

When Lang discusses the Leninist organization, PCb had nothing of a companyconspiracy because he was able to be objected that. This is precisely the harsh andpessimistic aspect of langienne reflection on violence, which is to represent the state asagainst the set-state. In doing so, Lang expects such theoretical analyzes of MarcelMauss, "The formation of the Communist Party remained a secret sect, and its main body,

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote5http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote6http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote7http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote8http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote9http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote10http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote11

the GPU remained the fighting organization of a secret organization. The Communist Partyitself remains camped in the middle of Russia, as the Fascist Party and the Nazi party

camp without artillery and without fleet, but with all the police apparatus 12 . "

To the extent that the state is represented as the "victorious faction," Lang's vision ispart of a Hegelian conception of history: "The government can not stand except as afaction. What is called government is only the victorious faction (...), and the fact that it

makes the government and vice versa faction guilty 13 . "The identification error Haghi(Lenin according to the film, according to Trotsky text) falls within the controlled skid Langworks in the absolute differentiation of power and war.

The most famous representation of this conception of power is of course the center ofcrosscutting M ensuring, by plastic and oral rhymes, the equivalence of the Police and theUnderworld, the court crooks and legal justice. The mob boss, Schrnker (GustavGrndgens), with clothing layers (stratum one police: gloves and black leather jacket,

second layer, bourgeois, "complete with thin white stripes, tie sober 14 "), gives a speechbusinessman and union president. Similarly, in the Testament, the perpetrators areofficers regularly employed each month, even without providing any work, that is to saycommitted no crime. The langien object, so it is "criminal matter", the description of aterrorist network that is state: Mabuse be confined to the cries of "the state is me! "(Storyof Dr. Baum early Testament).

Figure Mabuse is state terror, not to mean that the state is totalitarian 15 but in thesense, more abstract, in which she played the proper German term "Gewalt" which meansboth violence and power: " The German language has already answered that violence is

the same within the force that expands the power of the State 16 . "

If Lang is in perfect synchronization with the historical reality, it's probably because heinherits a language and a philosophical tradition, but also because this conception of thestate as a source of terror has was represented at the cinema, this time anticipating thehistorical reality, by Otto Rippert, whereby Lang made his debut as a screenwriter. In hisseries Homunculus (1915-1916) - whose iconography inspired Lang Metropolis - Ripperttells the following story: "Became dictator of an imaginary country, [Homunculus] foments

trouble himself to find the opportunity to crack 17 . "

The representation of freedom becomes inconceivable, the work of Lang is an epic ofnegativity. Strong characters Attorney Von Wenck (Bernhardt Goetzke) and 326 agent(Willy Fritsch) who opposed respectively Mabuse the Player and Haghi disappear in favorof the Commissioner Lohmann (Otto Wernicke), and popular comic character designed sothat it can not in any way constitute a positive hero capable of swinging the values held bythe supercriminels who are the real figures langiennes. Lang is whole, the director of evil

and denial. "I think," he said, "that criticism is something fundamental to a director 18 . "

Speculative qualities of a popular formSiegfried Kracauer has been classified earlier German films in 1933 into two streams:

those who extol the authority and those who are hostile to him whatsoever. So it seemsnormal for a German film of the interwar period, to measure up to the issue of state orgovernment. The work langienne in this context has nothing specific and appear as a

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote12http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote13http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote14http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote15http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote16http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote17http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote18

manifestation among others of a time when the relationship between cinema andfigurability history was particularly intense: it simply has an exact synchronism withhistorical reality.

The heuristic power of the work lies in the figurative Lang economy that developed toreflect modern terror, aided by his approach to the problem through a particular aesthetic:that of the serial.

Lang has operated several film means of the series: the film sketches (Der mde Tod/ Three Lights, "Ballad in 6 verses", 1921), the episodic film unfinished or "chapter-play"(Dr. Mabuse der Spieler and Inferno, 1922), the serial itself, people returning to full stories:

Das Indische Grabmal (1921 scenario de-Lang shot by Joe May 19 ) and Die Spinnen(1919 and 1920, two parts turned, two other scripted). Note that, structurally, DieNibelungen (1923-1924) belongs to the same narrative device. The series can also bebuilt on the back of a central character: a series of Mabuse (Dr. Mabuse, der Spieler 1 and2, Das Testament of Dr. Mabuse, 1932 Die Augen tausend of Dr. Mabuse, 1960) and aseries of Lohmann ( M, 1931 Das Testament of Dr. Mabuse). Finally, more undergroundway series are built on the back of an actor in the same type of role as Rudolph Klein-Rogge in the role of Evil (Dr. Mabuse, der Spieler and Das Testament, Metropolis, 1927Spione, 1928). The popular form of serial, used by Lang throughout his career, so heshould present his vision for the world, one could argue that it determines in part.

The serial is a strong form, characterized by constant traits which at least seemscrucial to account for the langienne reflection: an explanatory approach for causalphenomena. It can address the terror frontally, the story related effects to a cause, whichradically distinguishes Lang newer movies addressing the same problem from the point ofview of its effects alone, the problems or confusion that produce either unknown causes orperverse logic that we can not understand. The origin of this different kind of cinema, wefind instead the work of Welles (Arkadin, The Trial). At Lang, terror does not present itselfas a problem, it opens the film as a question is answered.

Lotte Eisner described the lost opening of the first Mabuse: "In a quick installation,panting, [Lang] referred to the Spartacus revolt, the murder of Rathenau, the Kapp Putsch,and other scenes of violence. Box: "Who is behind this?" Travelling front of the camera as

the bench: "Me." Appearance of Dr. Mabuse at her dressing table 20 . "The current

opening Mabuse 21 finds its counterpart in that of Spione that in 1 minute 50 and 27 plans,we described two flights of documents and two murders, including that of a minister,results of the work of the "Foreign Section" organization of Haghi.

The first feature of the study is therefore to establish a simple causal relationshipbetween the effect and its source, which means simplicity, assembly, by alternating themaster plans and intrusive work of his troops, and in the story, the idea of technicalperfection and temporal immediacy between order and delivery. Because the relationshipof the effect to its cause is still represented in fiction as a master's order, according to themilitary model Lang chose to describe the terrorist organization. Therefore, an obsessivevicissitude in Lang is not obedience to the order by which he deals with what, according to

Hans Mayer 22 , appears as a recurring scene of the German political and aesthetichistory: the secret court.

The issue of eliminating traitors haunting series Mabuse. It is the subject of a specialchapter in the Testament and constitutes a continuing threat to the accomplices of the

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote19http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote20http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote21http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote22

Mabuse Player and assistants son Mabuse appear in Die Augen tausend about that toexpress their fear of being removed in turn, the positive hero Testament, Tom Kent(Gustav Diessl) is called at the end of the film for disobedience, and though in anothernarrative logic, the court of the underworld M fits into this series . Lang and he treats bothdramatic political crimes of the secret execution, both of capital and additional twentyyears in Germany, taken in pincers between the murder of Rathenau (1922) and the trial

of the Holy Vehm (1927) 23 .

From this data item from the serial, the explanatory relationship, which is a "gendereffect" langien the actual work begins. If, in 1922-1960, the immediate relationship ofcause and effect remains constant, however the representation of the cause continues toevolve.

Representation of the case, dispersion bodyThe effect of gender, so this is the first representation of a master, the representability

of the case, the summation of the historical wrong in a singular body. Lang will work onthis fundamental, so much so that it becomes the very subject of the movie DasTestament of Dr. Mabuse.

The bodies of Mabuse and Haghi still participate in clean serial romantic archaism 24 :fixing body (Haghi false invalid, false Mabuse-blind son) characters transvestites (MabuseMabuse the Player and son-kings of disguise, is Haghi both spy, banker, clown ... andLenin / Trotsky Mabuse-son telepath, a psychiatrist and videographer). In contrast, in theTestament, the figure of Evil disperses: we can not assign it to a body, it has become anidea that is transmitted.

In the hallucinatory nature of the transmission, there is the appearance of archaiclangien serial beginnings, another constant feature of the work, poor illumination, the spell,the madness that, so far as he can be in other respects, Lang is connected by it to theexpressionism of Caligari. The fact remains that Testament tells the story of the executionof the idea of terror (Mabuse locked Dr. Baum studying his case) through the enchantingreading a text, Domination Crime, written by Mabuse trance ("another thirty pages today").In this film yet speaking, Lang multiplies plans pages, as if to designate the source of evilis not Mabuse (he died in the middle of the film that do not even event) or ProfessorBaum, simple relay particular importance, but a text.

Mabuse is no longer the name of a device dedicated to spread death and chaos,according to the instructions of a practice called a terrorist technology with chapters titledattacks against railroads and chemical plants, Action against banks and currency: Inflation... represent, for a viewer of 1933, as an explanation of the fictional fashion political andeconomic chapters of the history of the last ten years.

Releasing evil any assignable reason to access the systematic discourse of terror,Lang found the staging base of the sacred. The visit of the performers behind the curtaindevice, a silhouette of wood sitting at the table in front of a microphone responsible foraccrediting the presence of Mabuse / Baum, is the critical unveiling of an ancient devicethat Lang refers to its literal Accessory: "In the great mysteries (...) we saw (the gods)seeing statues that represented and in which we imagined they were living. That is why

this moment is called the poptie or vision 25 . "

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote23http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote24http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote25

The figure of the tyrant dissolves to become a transmission generalized terror. In1960, in Die Augen tausend, the dispersion of the figure of the Master is so strong that itsavatars (Cornelius telepath, whose dog is called Terro, Jordan and the psychiatrist) neverconnect in the story.

As a corollary, Lang begins by representing the time of the Executive violence in theform of a small gang across a domesticity. From Spione, it amplifies the description of thisviolence into a global organization. In M, he worked on the idea of secret organizationdesigned to be equivalent to legal police organization. Finally, tausend Die Augen, thereare more members of the organization, there remains only one running (Howard Vernon),responsible for breaking down the accomplices when they were used, and final avatarexpeditious secret court.

Every aspect of the planned terror executive, legislative or subjective, is the use of aparticular method of transmitting information.

The technocratic fascination is part of evil and violence. Thereby Lang yet joinedimaging serial: telex in Spione, videophone in Metropolis, refraction system inDie Spinnen foreshadowing the TVgovernance Tausend Augen. From 1919to 1960, the media have continued toexcite the inventiveness of Lang. But it isnot enough to bring modern appliancesin the cinema before they do exist in thereal Lang integrates them into a specificpattern of communication that structurefrom a negative function: the interception.

At Lang, also a form of haunting that death scene in Hitchcock is to open a film aboutthe murder of a messenger. 1919 opening Spinnen an old man throws a bottle into thesea, he received a spear in the back.1920 prologue Mabuse, der Spieler: aletter carrying secret contracts ismurdered, what justifies the specialedition of a newspaper. 1928 prologueSpione: murder of the holder of a secondtreaty. 1960 opening Tausend Augen:this time it is a TV special flash publishedwhat the murder of journalist PeterBarter, struck by a needle in the neck,modern reduction launches Spinnen.

The first two sequences Testament offer a symmetric version of the turn of events: thecharacter of Hofmeister (Karl Meixner) on the phone to reveal the name of theCommissioner Lohmann Mabuse, suddenly becomes mad with terror and interned.

Transmission and interception are two major and complementary figures of the storylangien any message been a fatal interception, any message is a message of death. InTausend Augen last film Lang, the message is not scriptural or oral but scenic, spectacularsecret bunker is a TV control. Terror at Lang eventually amount to staging, since the

transmission device monitors the staging of shows faked (false death of husband falseclubfoot of heroin) for aviewer victimized by hesees. The executioners differfunctionally victims in thatsome are absolute mastersof communication, all itsfeatures and all technicalmeans of transmission oftheir time (real orconceivable), while otherslive on the plain language .the mode of misunderstanding M devotes a diptych to despise the crowd against theLang-figuratively for the convincing symptom of collective psychosis.

Any message is mortal (even the good Matsumoto Spione gives three empty threemessengers he sends knowingly death envelopes), and all innocent a deaf what inevitablymakes him guilty, it is say an executioner when he mingles interpret signs. It will be aboutthe same Fury, the first American film.

System of terror (summary)

In the event of the image. Historical function of

representationThus, the work relentlessly calls into play, precise questions the figurative economy of

terror, regarding its nature (subjective, executive, legislative, victimal) origin (domesticgang, global organization, figural dispersion psychosis collective) and the iconography oftechnical transmission (hypnosis and photographs, telex, secret codes, voice, rumor,show, TV ...)

Systematicity of this figurative investigation probably reflects, as much as a politicaltask, a reflexive concern: if the master of terror is that of communication, which may be thestatus of the filmmaker who, after all, has also a modern means of transmission? The only

useless plane (with respect to the conduct of fiction 26 ) of Spione could provide anindication about this: according to the sequence of the collision of trains, "326" and Soniaintersect operator of news that can not do anything but filming location of the accident, we

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote26

believe, a helpless gesture with the intention of both heroes. It is already there and can donothing, that recording. By locating, Lang did he not dissociate this operator is responsiblefor providing an account of the events, that is to say, the disaster film?

Convergent stages of the work show that the image, photo ID or ghostly reflectionused to induce a powerful remorse he turns to madness. The photographs of the girls thatSchrnker tends to trigger M verbal crisis Cursed, Dr. Baum also said that we havealready seen at the end of Spieler, Mabuse is how crazy seeing shows the spectra of itsvictims; Matsumoto committed suicide after being greeted by the three ghosts of hismessengers to death for perpetrators of Fury will collapse to the vision of the film thatproves their guilt. It would be the function of cinema reflect the image of the victim to theexecutioner to turn him mad with terror.

The theme of the picture as evidence, however, is that the most the most visible partof the staging of the image at Lang. His testimony is part function, not only in the diegesis,but in the very structure of the film.

Take the example of M, a copy consistency in this regard. In M, there is no event, novicissitude, except, initially, the absolute and infilm event of the death of the little Elsie,who is a "spun ellipse" (the balloon, the balloon, the an empty plate, the sound). Then theonly vicissitude which organizes the body of the film returns obsessively: enter, leave.Enter the building of the Caisse d'Epargne, joining Beckert (the legal name of M), movesinto the place where the raid, conversely, out of the cell in the attic, out of court, out of thehole ( Fritz Gnass the burglar). Other episodes of the film represent failure, under theauspices of the breach: the unsuccessful course of the investigation, the failure of theattempt to seize M seeking a second daughter, agitation unnecessary the panicked crowd.The diegetic activity consists in the production and reading of written documents (reports,maps ...) results in a graphical representation (eg, concentric circles drawn on the map ofthe city) and the graphical representation causes of action (and reports that determine thesurvey).

In M, there are no events because there is only information. The fictional film materialis not composed of men who compete or love each other but the reading andinterpretation of different signs. In the image, this results in the extraordinary multiplicity ofplanes posters, newspapers, books, documents, maps, related capital stylistic silent Langand paradoxically brought to its climax in his first talking film. The film progresses inmaking us move from one type of writing to another and reached a climax when the policebegan to identify Beckert. This sequence is an inversion of the normal scalar system: planhuman population appears as an insert over the graphical plans that succeed one anotherwithout interruption. Here, Fritz Lang made the analytical mounting on the informationitself: the subject, the document, the plan is as dictated by the archive.

The sequence of the capture of the underworld million aside, Lang therefore notsubjected us to a conventional narrative organization, which would require to articulate anepisode in preparation, conduct and result. Either there is an ellipsis of the event orrepresentation of the passage from one episode to another.

Thus, treatment of the passage of the written survey to survey on the ground by aprofusion of graphics planes. However,although carefully organized (in thediegesis), prepared (in the narrative) andsurtraite (in the visual economy), thesurvey fails. (The inspector wrong table -at least diegetically, for plastically, it isnot wrong to look at this round, whichconnects well with geometric patterns ofthe films).

With the story of the capture of M, we get instead a strict schedule linearity (excludingthe film by the iconic system connections hitherto in force), themed by calculating the timeand the pendulum that knocks million time of his capture. Nothing could be more intenselycaught in a classic style of course. But the episode, in a second step is repeated andprolonged, which does not lack retroactively to modify a little effect. Mentioned for the firsttime during the interview between the burglar and the Commissioner Groeber (TheodorLoss) it is republished again during playback by Lohmann report which it gave rise. This isthe time of the explanation of how filmic narration langien: the transformation of the eventinformation.

Importantly, the recovery of the episode allows Lang to represent much more than anevent, a mental process: the deduction. (It is understood that, with him, was fascinated

and train Eisenstein 27 ). Visually, the plan becomes a page - the images look like sheets -and for this metamorphosis, Lang built a pedagogy of false assumption. For the first timein the film, the viewer has all the data of the problem, instead of Commissioner Lohmannwhich is then capable of the hypotheses ("They want to drain all the house - this is theSavings they were intended -. What does that mean - I do not get it It was crazy, or what?28 ? "). The viewer can prove the picture. It is still prompted by a number of film processeswhich occur as emblems of intellection, evidence offered by the film and posing theconditions of its intelligibility.

Definition, first, the public: a terrible doubt hanging over his powers of judgment,Lohmann even said, "Do not tell me about working with the public. Nothing to hear, it

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote27http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote28

disgusts me 29 . "In such a critical presentation, the film people, the audience can onlydissociate, driving with her psychosis and misunderstanding that inhabit it.

Definition, again, the use of sound. Frau Beckmann (Ellen Widmann): "As long as the

children sing, at least we know they are always there 30 . "The sound in M, is indeedalways understand the outfield: he connection between two spaces, organize alternatearrangements of two areas which, for him, become comparable, in the outfield, the Evillurks, nobody sees but everyone hears (the Blind, the thief in the Savings bank thatcollects the sound of the knife). More generally, integrating sound connection, the filmbegins with a symbol of the same style, that is to say the fundamental discontinuity fromwhich he organizes his material. The deliveryman novelette "Hello, following our novel,Mrs. Beckmann ... Exciting, moving, sensational ... "On a quiet and perhaps ironically,Lang pointed feuilletonesques the origins of cinema, that M reinvests another functiondiscontinuous, the viewer is asked to deduct continuously, learn from the comparisons,similarities , to trace images and thereby reach the network, causes. Exemplarily Policeand Underworld are never found in the same field, but in this vibrant overlay that isdisguising Schrnker during the assault of the Caisse d'Epargne. At the end of thesequence of the Tribunal, the last look of stunned Underworld does not send a reverseangle on the Police: the viewer is for the work of the connection, that Lang conceived asworking understanding.

"Each movie must have a definite points of view / each film must have a criticalreason. "The Lost in Translation Francesca Vanini (Giorgia Moll) in Contempt - but thetranslation is also a quote from Lang - confused perspective and judgment: this is a majorscheme to think langien fascination as absolute evil. The image, as evidence, is not simply

recording the truth much more active, it recallsthe disaster, it terrifies the executioner. Thecontroversial development of a vigilantepicture is home to an economy characterizedby the belief (non-problematized) in a fullreport, in relation to the real hard work ofhistory that the individual is able to think andtake criticism, reason of the collective historyin which it is immersed. In this sense, theissue documentary works tripling the Germanwork of Fritz Lang: the figurative effort is thepresent, with what it means to focus the virtual(working serial, imaging system and reuseddynamics), the staging archive narrated themanual document (dialectic of event andinformation, stylistic reassembly). Moreimportantly, the paper work is in regard to thefaculty of judgment: animated by an intenseaffirmation critical capacity, it is, somehow,

the latter view can sovereign before the disaster. What could be problematized the EinBild Bild der Zeit has been: in pictures.

"Every society emerges in his own eyes by giving the narrative its violence 31 ": this iswhat supported the langien program. At the same time, another Viennese working on

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote29http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote30http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#footnote31

terror, which according to him, only cements and absolutely human community. In 1929,Freud published Civilization and Its Discontents.

This text has been first published in the journal Film, No. 3, Spring-Summer 1993. Illustrations: stills, collection French Cinematheque.

1 Erwin Panofsky, tests iconology (1939), tr. Claude Bernard and Herbette Teyssdre, Paris,Gallimard, 1967, p. 13.2 Cf eg Dadoun Roger, "The power and" madness "," in Positive, No. 188, December 1976, p. 13-20 and Pierre Sfani, "Reason in History", in Cinema, No. 229, January 1978, p. 21.3 In Lotte Eisner, Fritz Lang (1976), tr. Eisenschitz Bernard, Paris, Cahiers du Cinema / ed. del'Etoile / French Cinematheque, 1984, p. 117.4 "I do not much like the film because human beings were only the parts of a machine. (...) Then,when I saw the astronauts, what if they are parts of a machine? It is very difficult to talk aboutmovies ... Is that now I should say that I like Metropolis because something I imagined becamereal ... while I hated it when it was finished? "In Fritz Lang in America, interview by PeterBogdanovich (1969), tr. Serge Grnberg and Claire Blatchley, Paris, Cahiers du Cinema, 1990, p.143.5 In Siegfried Kracauer, From Caligari to Hitler, a psychological history of German cinema (1947),tr. Claude B. Levenson, Paris, ed. Ramsay, 1987, p. 280.6 Francis and Henry Courtade Cadars, History of Nazi cinema, Paris, ed. Losfeld, 1972, p. 9.7 In "The Viennese Night" Cahiers du Cinema, No. 169, August 1965, p. 51.8 Norbert Jacques, Dr. Mabuse (SD.), tr. E. Tomsen, ed Andr Martel, Paris, 1954, especially p.58-60.9 Quoted by Joachim Fest, Hitler Youth and the conquest of power, tr. Guy Estrangin Fritsch,Paris, Gallimard, 1973, p. 99.10 Georges Bataille and Roger Caillois, "brotherhoods, orders, secret societies, churches" (1938),in Denis Hollier, The College of Sociology, Paris, Gallimard, 1979, p. 276-287.11 Joachim Fest, op. cit., p.96.12 Marcel Mauss, "Letter to Halevy," 1936, in The College of Sociology, op. cit., p. 542-543.13 Phenomenology of Spirit, Volume 2, tr. Jean Hyppolite, Paris, ed. Aubier, 1977, p. 136 andGianfranco Sanguinetti, On Terrorism and the State, tr. Jean-Francois Martos, Paris, the last wordin history, 1980, p. 18. (Rather that conversely, we would read willingly simultaneously).14 L'Avant-Scene Cinema, No. 39, July 15-August 15, 1964, p. 18. Transcript Volker Schlndorff.15 In contrast, in "The Viennese Night", op. cit., p. 56, the master criminal is said anarchist.16 Jean-Pierre Faye, portable political dictionary in 5 words, Paris, Gallimard, 1982, p. 207.17 Fereydoun Hoveyda, "The Rise and Fall of the serial" Cahiers du Cinema, No. 59, May 1956,p. 13.18 Jean Domarchi and Jacques Rivette, "Interview with Fritz Lang," Cahiers du Cinema, No. 99,September 1959, p. 2.19 Peter Bogdanovich, Fritz Lang in America, op. cit., p. 131.20 Lotte Eisner, Fritz Lang, op. cit., p. 71.21 "A train, in which a man is attacked, a trade agreement is stolen, launched the bandwagon amotorcyclist, everything goes with strict accuracy, in accordance with the watch Mabuse, alwaysat his table, held in hand. "Ibid.22 "The rites of political associations in Germany Romantic" (1939), in the College of Sociology,op. cit., p. 472 sq.23 Emil Rathenau: Industrial and politician, Minister of Reconstruction and Foreign Affairs, hesigned the Treaty of Rapallo. He was assassinated by right-wing agigateurs, which included Ernstvon Salomon (see his novel The Forsaken). The Holy Vehm, a far-right organization particularlyviolent and murders, had a mission "to purify society of all undesirable elements."

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote1http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote2http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote3http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote4http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote5http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote6http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote7http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote8http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote9http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote10http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote11http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote12http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote13http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote14http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote15http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote16http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote17http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote18http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote19http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote20http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote21http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote22http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote23

24 RW Rowan, The evolution of modern espionage, tr. Daniel Proust, Paris, Library of political,military and naval history / ed. New Revue Critique, 1935, p. 62-63: "It would be fun to talk aboutthese spies, with a sort of super-theatrical genius, affublent makeup and false beards, but thefacts show us that modern spies disguised so rarely as romantic . "25 Felix Ravaisson, "Fragment of the Mysteries," in Philosophical Testament, 1901, Paris, Vrin,1983. 174.26 On this subject it is currently missing 1380 feet of film, according Enno Patalas. In LorenzoCodelli "Interview with Enno Patalas" Positive, No. 285, November 1984, p. 20.27 Who, as Bartholomew Amengual reports, made his debut in cinema back Dr. Mabuse, derSpieler to shoot a new film, The Golden rot (1924). In Eisenstein's Que Viva!, Lausanne, Aged'Homme, 1980, p. 344.28 L'Avant-Scene Cinema, op. cit., p. 36.29 Id., p. 8.30 Id., p. 9.31 Jean-Pierre Faye, Political Dictionary, op. cit., p. 203.

figurative analysis condition fritz lang wrong negativity nicole Brenez underworldiconographic problem representation serial dread

] Created 06/30/2009 - 8:08 [] Source URL: http://www.editionspapiers.org/publications/symptome-exhibition-angoisse[

http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote24http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote25http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote26http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote27http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote28http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote29http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote30http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/print/51&usg=ALkJrhgI47CfYShk7_2hKps0EYDapEY0jw#refnote31http://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/analyse-figurative&usg=ALkJrhiOvX1baGxd1AUq8NzhwC-INdRzwQhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/%25C3%25A9tat&usg=ALkJrhi_FQ8t7rjHQPddMzzzvBKcYt4DDQhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/fritz-lang&usg=ALkJrhhTw85S2xrOexRWj7oaG9Nw2jIw5whttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/mal&usg=ALkJrhgXGPHxBwHR8USEcxSTiOdnQa61uwhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/n%25C3%25A9gativit%25C3%25A9&usg=ALkJrhgTP5UqoaDQ-4U4djAa7nCiZN1QmAhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/auteurs/nicole-brenez&usg=ALkJrhhIEY5y2Tq6QH7oDUEi45UvjWKHJAhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/p%25C3%25A8gre&usg=ALkJrhjKF2rG1P9yLV4-0_frA1y5k-twXghttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/probl%25C3%25A8me-iconographique&usg=ALkJrhiK7RxZve9KUQO9dO90kUMzPsmp5Qhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/taxonomy/term/5&usg=ALkJrhjE3dyLKL-gRpGSJ14lORrnJV68mQhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/serial&usg=ALkJrhj7KP7mIyDduwlPXswBVUD4MiCp3Qhttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/category/mots-clefs/terreur&usg=ALkJrhgUZARlrui03-rm4tJNamH_dyE74Ahttp://translate.googleusercontent.com/translate_c?depth=1&ei=xAKvUY6BEsOY0AXb2YHADw&hl=en&prev=/search%3Fq%3DSympt%25C3%25B4me,%2Binhibition,%2Bangoisse%2Bfritz%2Blang%26client%3Dsafari%26rls%3Den%26biw%3D1362%26bih%3D743&rurl=translate.google.nl&sl=fr&u=http://www.editionspapiers.org/publications/symptome-exhibition-angoisse&usg=ALkJrhjg83bZJEBCmRESY70LAB3EU0q28A