Papers > Publications > Lang_terreur

Symptom, exhibition, anxiety

representation of terror in the German work of Fritz Lang
(1919-1933 / 1959-1960)
Nicole Brenez

Iconographic issue
The 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 aesthetic
representation 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 German
history of the twenties and thirties and work of Lang, but the evidence of this link has
somehow 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 its
detail. So we read, lawfully moreover, the work of
Lang in his documentary appearance as a pure
and simple image of his time (Ein Bild der Zeit, it
is the subtitle of Mabuse, der Spieler) that must
decipher as novels Keywords: player = Mabuse
the spirit of inflation, the Mabuse Testament =
Hitler of the Mabuse Tausend Augen = American
capitalism and the power of the media. It forgets
that when Lang wishes to represent it involves, it
is straightforward: in Spione, Rudolph KleinRogge reproduces every feature Lenin's face. But
this figural excess engenders critical confusion
since exegete of his own work, Fritz Lang
operates a superb repository transfer whereby
Lenin (political leader) serves as a mask to
Trotsky (military leader): "The fictional character
Haghi, super- spy was played by actor KleinRogge with makeup evoking the political superbrain Trotsky 3 . "
Top: Rudolph Klein-Rogge in the role of
Haghi (Spione, 1928), bottom: Lenin.

The film works great fiction to be in document: it's reading that Lang has continued to
claim - 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

dimension? By observation? The descriptive emphasis? The key index? Conversely,

paradoxical hypothesis forms through which the film Lang says the documentary would
be: not the fieldwork, but the powers of imagery, not an observation protocol, but a
reliance 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-Nazi
continuously 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 the
assumption of a first anti-communist Lang, as do not forget to report Courtade and Cadars
6 : "For the public in 1932, Mabuse could embody the spider either Hitler or the eye of

Moscow ", and as confirmed by the character of Haghi-Lenin Spione (1928). Figure
Mabuse 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, the
master of history the time.
For what mobilizes Lang first is not a man, a singular being, but a phenomenon. That
interests us, he has called "the crime in the social structure": "The original film [M] was
entirely 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 is
primarily 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 his
reflection on it.
Through the figure of supercriminel, the film deals with the modern tyranny as it is
factually when Lang represents: a "society of conspiracy." Hitler memory October 22, 1922
9 : "We will also create a movement qu'animera force the most fanatical and spirit of the

most brutal decision that will be ready at all times to oppose terrorism a ten times higher
than that of Marxism . "We borrow the term society conspiracy Georges Bataille and
Roger Caillois who among the" elective communities, "specify the company as an activist
and secret plot in" connection with a mysterious "space center (see the blind cave Mabuse
and 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 sociological
Germany 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 remains
at the level of a mansion: driver, secretary, Jack, in 1928, that of Haghi is global: inflation
crime.
When Lang discusses the Leninist organization, PCb had nothing of a company
conspiracy because he was able to be objected that. This is precisely the harsh and
pessimistic aspect of langienne reflection on violence, which is to represent the state as
against the set-state. In doing so, Lang expects such theoretical analyzes of Marcel
Mauss, "The formation of the Communist Party remained a secret sect, and its main body,

the GPU remained the fighting organization of a secret organization. The Communist Party
itself 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 is
part of a Hegelian conception of history: "The government can not stand except as a
faction. 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 Lang
works in the absolute differentiation of power and war.
The most famous representation of this conception of power is of course the center of
crosscutting M ensuring, by plastic and oral rhymes, the equivalence of the Police and the
Underworld, the court crooks and legal justice. The mob boss, Schrnker (Gustav
Grndgens), with clothing layers (stratum one police: gloves and black leather jacket,
second layer, bourgeois, "complete with thin white stripes, tie sober 14 "), gives a speech
businessman and union president. Similarly, in the Testament, the perpetrators are
officers regularly employed each month, even without providing any work, that is to say
committed no crime. The langien object, so it is "criminal matter", the description of a
terrorist network that is state: Mabuse be confined to the cries of "the state is me! "(Story
of Dr. Baum early Testament).
Figure Mabuse is state terror, not to mean that the state is totalitarian 15 but in the
sense, more abstract, in which she played the proper German term "Gewalt" which means
both 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 he
inherits a language and a philosophical tradition, but also because this conception of the
state as a source of terror has was represented at the cinema, this time anticipating the
historical reality, by Otto Rippert, whereby Lang made his debut as a screenwriter. In his
series Homunculus (1915-1916) - whose iconography inspired Lang Metropolis - Rippert
tells 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 of
negativity. Strong characters Attorney Von Wenck (Bernhardt Goetzke) and 326 agent
(Willy Fritsch) who opposed respectively Mabuse the Player and Haghi disappear in favor
of the Commissioner Lohmann (Otto Wernicke), and popular comic character designed so
that it can not in any way constitute a positive hero capable of swinging the values held by
the 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 form

Siegfried 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 seems
normal for a German film of the interwar period, to measure up to the issue of state or
government. The work langienne in this context has nothing specific and appear as a

manifestation among others of a time when the relationship between cinema and
figurability history was particularly intense: it simply has an exact synchronism with
historical reality.
The heuristic power of the work lies in the figurative Lang economy that developed to
reflect 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, Die
Nibelungen (1923-1924) belongs to the same narrative device. The series can also be
built on the back of a central character: a series of Mabuse (Dr. Mabuse, der Spieler 1 and
2, Das Testament of Dr. Mabuse, 1932 Die Augen tausend of Dr. Mabuse, 1960) and a
series of Lohmann ( M, 1931 Das Testament of Dr. Mabuse). Finally, more underground
way series are built on the back of an actor in the same type of role as Rudolph KleinRogge in the role of Evil (Dr. Mabuse, der Spieler and Das Testament, Metropolis, 1927
Spione, 1928). The popular form of serial, used by Lang throughout his career, so he
should 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 seems
crucial to account for the langienne reflection: an explanatory approach for causal
phenomena. It can address the terror frontally, the story related effects to a cause, which
radically distinguishes Lang newer movies addressing the same problem from the point of
view of its effects alone, the problems or confusion that produce either unknown causes or
perverse logic that we can not understand. The origin of this different kind of cinema, we
find instead the work of Welles (Arkadin, The Trial). At Lang, terror does not present itself
as 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 relationship
between the effect and its source, which means simplicity, assembly, by alternating the
master plans and intrusive work of his troops, and in the story, the idea of technical
perfection and temporal immediacy between order and delivery. Because the relationship
of the effect to its cause is still represented in fiction as a master's order, according to the
military model Lang chose to describe the terrorist organization. Therefore, an obsessive
vicissitude 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 aesthetic
history: the secret court.
The issue of eliminating traitors haunting series Mabuse. It is the subject of a special
chapter in the Testament and constitutes a continuing threat to the accomplices of the

Mabuse Player and assistants son Mabuse appear in Die Augen tausend about that to
express 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 another
narrative logic, the court of the underworld M fits into this series . Lang and he treats both
dramatic political crimes of the secret execution, both of capital and additional twenty
years 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 "gender
effect" langien the actual work begins. If, in 1922-1960, the immediate relationship of
cause and effect remains constant, however the representation of the cause continues to
evolve.

Representation of the case, dispersion body

The 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 on
this fundamental, so much so that it becomes the very subject of the movie Das
Testament 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 (Mabuse
Mabuse the Player and son-kings of disguise, is Haghi both spy, banker, clown ... and
Lenin / Trotsky Mabuse-son telepath, a psychiatrist and videographer). In contrast, in the
Testament, the figure of Evil disperses: we can not assign it to a body, it has become an
idea that is transmitted.
In the hallucinatory nature of the transmission, there is the appearance of archaic
langien 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 the
expressionism of Caligari. The fact remains that Testament tells the story of the execution
of the idea of terror (Mabuse locked Dr. Baum studying his case) through the enchanting
reading 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 evil
is not Mabuse (he died in the middle of the film that do not even event) or Professor
Baum, 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 titled
attacks 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 and
economic 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 curtain
device, a silhouette of wood sitting at the table in front of a microphone responsible for
accrediting the presence of Mabuse / Baum, is the critical unveiling of an ancient device
that 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 . "

The figure of the tyrant dissolves to become a transmission generalized terror. In

1960, in Die Augen tausend, the dispersion of the figure of the Master is so strong that its
avatars (Cornelius telepath, whose dog is called Terro, Jordan and the psychiatrist) never
connect in the story.
As a corollary, Lang begins by representing the time of the Executive violence in the
form of a small gang across a domesticity. From Spione, it amplifies the description of this
violence into a global organization. In M, he worked on the idea of secret organization
designed to be equivalent to legal police organization. Finally, tausend Die Augen, there
are more members of the organization, there remains only one running (Howard Vernon),
responsible for breaking down the accomplices when they were used, and final avatar
expeditious secret court.
Every aspect of the planned terror executive, legislative or subjective, is the use of a
particular method of transmitting information.
The technocratic fascination is part of evil and violence. Thereby Lang yet joined
imaging serial: telex in Spione, video
phone in Metropolis, refraction system in
Die Spinnen foreshadowing the TV
governance Tausend Augen. From 1919
to 1960, the media have continued to
excite the inventiveness of Lang. But it is
not enough to bring modern appliances
in the cinema before they do exist in the
real Lang integrates them into a specific
pattern of communication that structure
from a negative function: the interception.
At Lang, also a form of haunting that death scene in Hitchcock is to open a film about
the murder of a messenger. 1919 opening Spinnen an old man throws a bottle into the
sea, he received a spear in the back.
1920 prologue Mabuse, der Spieler: a
letter

carrying

secret

contracts

is

murdered, what justifies the special

edition of a newspaper. 1928 prologue
Spione: murder of the holder of a second
treaty. 1960 opening Tausend Augen:
this time it is a TV special flash published
what the murder of journalist Peter
Barter, 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: the
character of Hofmeister (Karl Meixner) on the phone to reveal the name of the
Commissioner Lohmann Mabuse, suddenly becomes mad with terror and interned.
Transmission and interception are two major and complementary figures of the story
langien any message been a fatal interception, any message is a message of death. In
Tausend Augen last film Lang, the message is not scriptural or oral but scenic, spectacular
secret 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 false
clubfoot of heroin) for a
viewer

victimized

by

he

sees. The executioners differ

functionally victims in that
some are absolute masters
of communication, all its
features and all technical
means of transmission of
their

time

(real

or

conceivable), while others

live on the plain language .
the mode of misunderstanding M devotes a diptych to despise the crowd against the
Lang-figuratively for the convincing symptom of collective psychosis.
Any message is mortal (even the good Matsumoto Spione gives three empty three
messengers he sends knowingly death envelopes), and all innocent a deaf what inevitably
makes him guilty, it is say an executioner when he mingles interpret signs. It will be about
the same Fury, the first American film.

System of terror (summary)

In the event of the image. Historical function of

representation
Thus, the work relentlessly calls into play, precise questions the figurative economy of
terror, regarding its nature (subjective, executive, legislative, victimal) origin (domestic
gang, global organization, figural dispersion psychosis collective) and the iconography of
technical transmission (hypnosis and photographs, telex, secret codes, voice, rumor,
show, TV ...)
Systematicity of this figurative investigation probably reflects, as much as a political
task, a reflexive concern: if the master of terror is that of communication, which may be the
status 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 an
indication about this: according to the sequence of the collision of trains, "326" and Sonia
intersect operator of news that can not do anything but filming location of the accident, we

believe, a helpless gesture with the intention of both heroes. It is already there and can do
nothing, that recording. By locating, Lang did he not dissociate this operator is responsible
for 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 reflection
used to induce a powerful remorse he turns to madness. The photographs of the girls that
Schrnker tends to trigger M verbal crisis Cursed, Dr. Baum also said that we have
already seen at the end of Spieler, Mabuse is how crazy seeing shows the spectra of its
victims; Matsumoto committed suicide after being greeted by the three ghosts of his
messengers to death for perpetrators of Fury will collapse to the vision of the film that
proves their guilt. It would be the function of cinema reflect the image of the victim to the
executioner to turn him mad with terror.

The theme of the picture as evidence, however, is that the most the most visible part
of 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, no
vicissitude, 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 the
only 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), moves
into the place where the raid, conversely, out of the cell in the attic, out of court, out of the
hole ( Fritz Gnass the burglar). Other episodes of the film represent failure, under the
auspices of the breach: the unsuccessful course of the investigation, the failure of the
attempt 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 of
the city) and the graphical representation causes of action (and reports that determine the
survey).

In M, there are no events because there is only information. The fictional film material
is not composed of men who compete or love each other but the reading and
interpretation of different signs. In the image, this results in the extraordinary multiplicity of
planes posters, newspapers, books, documents, maps, related capital stylistic silent Lang
and paradoxically brought to its climax in his first talking film. The film progresses in
making us move from one type of writing to another and reached a climax when the police
began to identify Beckert. This sequence is an inversion of the normal scalar system: plan
human population appears as an insert over the graphical plans that succeed one another
without interruption. Here, Fritz Lang made the analytical mounting on the information
itself: the subject, the document, the plan is as dictated by the archive.
The sequence of the capture of the underworld million aside, Lang therefore not
subjected us to a conventional narrative organization, which would require to articulate an
episode in preparation, conduct and result. Either there is an ellipsis of the event or
representation of the passage from one episode to another.
Thus, treatment of the passage of the written survey to survey on the ground by a
profusion of graphics planes. However,
although carefully organized (in the
diegesis), prepared (in the narrative) and
surtraite (in the visual economy), the
survey fails. (The inspector wrong table at least diegetically, for plastically, it is
not wrong to look at this round, which
connects well with geometric patterns of
the films).
With the story of the capture of M, we get instead a strict schedule linearity (excluding
the film by the iconic system connections hitherto in force), themed by calculating the time
and the pendulum that knocks million time of his capture. Nothing could be more intensely
caught in a classic style of course. But the episode, in a second step is repeated and
prolonged, which does not lack retroactively to modify a little effect. Mentioned for the first
time during the interview between the burglar and the Commissioner Groeber (Theodor
Loss) it is republished again during playback by Lohmann report which it gave rise. This is
the time of the explanation of how filmic narration langien: the transformation of the event
information.
Importantly, the recovery of the episode allows Lang to represent much more than an
event, 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 time
in the film, the viewer has all the data of the problem, instead of Commissioner Lohmann
which is then capable of the hypotheses ("They want to drain all the house - this is the
Savings 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 processes

which occur as emblems of intellection, evidence offered by the film and posing the
conditions 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

disgusts me 29 . "In such a critical presentation, the film people, the audience can only
dissociate, 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 indeed
always understand the outfield: he connection between two spaces, organize alternate
arrangements of two areas which, for him, become comparable, in the outfield, the Evil
lurks, nobody sees but everyone hears (the Blind, the thief in the Savings bank that
collects the sound of the knife). More generally, integrating sound connection, the film
begins with a symbol of the same style, that is to say the fundamental discontinuity from
which 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 function
discontinuous, the viewer is asked to deduct continuously, learn from the comparisons,
similarities , to trace images and thereby reach the network, causes. Exemplarily Police
and Underworld are never found in the same field, but in this vibrant overlay that is
disguising Schrnker during the assault of the Caisse d'Epargne. At the end of the
sequence of the Tribunal, the last look of stunned Underworld does not send a reverse
angle on the Police: the viewer is for the work of the connection, that Lang conceived as
working understanding.
"Each movie must have a definite points of view / each film must have a critical
reason. "The Lost in Translation Francesca Vanini (Giorgia Moll) in Contempt - but the
translation is also a quote from Lang - confused perspective and judgment: this is a major
scheme to think langien fascination as absolute evil. The image, as evidence, is not simply
recording the truth much more active, it recalls
the disaster, it terrifies the executioner. The
controversial

development

of

vigilante

picture is home to an economy characterized

by the belief (non-problematized) in a full
report, in relation to the real hard work of
history that the individual is able to think and
take criticism, reason of the collective history
in which it is immersed. In this sense, the
issue documentary works tripling the German
work of Fritz Lang: the figurative effort is the
present, with what it means to focus the virtual
(working serial, imaging system and reused
dynamics), the staging archive narrated the
manual document (dialectic of event and
information,

stylistic

reassembly).

More

importantly, the paper work is in regard to the

faculty of judgment: animated by an intense
affirmation critical capacity, it is, somehow,
the latter view can sovereign before the disaster. What could be problematized the Ein
Bild Bild der Zeit has been: in pictures.
"Every society emerges in his own eyes by giving the narrative its violence 31 ": this is
what supported the langien program. At the same time, another Viennese working on

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. 1320 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. de
l'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 about
movies ... Is that now I should say that I like Metropolis because something I imagined became
real ... while I hated it when it was finished? "In Fritz Lang in America, interview by Peter
Bogdanovich (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 and
Gianfranco Sanguinetti, On Terrorism and the State, tr. Jean-Francois Martos, Paris, the last word
in 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 a
motorcyclist, everything goes with strict accuracy, in accordance with the watch Mabuse, always
at 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, he
signed the Treaty of Rapallo. He was assassinated by right-wing agigateurs, which included Ernst
von Salomon (see his novel The Forsaken). The Holy Vehm, a far-right organization particularly
violent and murders, had a mission "to purify society of all undesirable elements."

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 about
these spies, with a sort of super-theatrical genius, affublent makeup and false beards, but the
facts 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 Lorenzo
Codelli "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, der
Spieler to shoot a new film, The Golden rot (1924). In Eisenstein's Que Viva!, Lausanne, Age
d'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.

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