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Late Jurassic
A new collection of Upper Jurassic (Kimmeridgian) gastropods from the reefal limestones of the Saal quarry near Kelheim (Lower Bavaria, Germany) is reported. It has yielded 119 species of which 80 species are nominate species, the others are treated in open nomenclature. This increases the number of known gastropod species from the Saal quarry by 54 (31 nominate species). A total of 178 gastropod species (107 nominate species) have now been reported from this locality making this occurrence the richest one from the Late Jurassic. Despite the fact that previously studied collections are from the same quarry and have the same age, these collections differ considerably from each other in species composition and relative abundances of shared species. This reflects facies differentiation in the quarry as well as colletion biases. One new genus (Kelheimia gen. nov.) and 15 new species are described: Scurriopsis cragolis sp. nov., Pseudorhytidopilus ? quadratussp. nov., Rimulopsis danuviensis sp. nov., Nododelphinula oblonga sp. nov., Creniturbo gibbosus sp. nov., Kelheimia triangulata sp. nov., Neritopsis ? rotundatussp. nov., Oonia kimmeridgiensis sp. nov., Eustoma ? gracilissp. nov., Cryptoptyxis ? spinosussp. nov., Turritella lucagrita sp. nov., Neuburgensia angulata sp. nov., Neuburgensia rara sp. nov., Diarthema aspera sp. nov., and Aphanoptyxis sinerugae sp. nov. Leptomaria tuberosa Gründel, Keupp & Lang, 2017 is seen as subjective synonym of Leptomaria goldfussi (Sieberer, 1907). Gymnocerithium ? convexoconcavum Gründel, Keupp & Lang, 2019 is placed in the genus Neuburgensia (comb. nov.). Amphitrochus ? gerberi Gründel, Keupp & Lang, 2017 is placed in the genus Serrettella (comb. nov.). Neritopsis subvaricosa Brösamlen, 1909 is placed in the genus Hayamiella (comb. nov.). Gymnocerithium ? convexoconcavum Gründel, Keupp & Lang, 2019 is placed in the genus Neuburgensia (comb. nov.). Nerinea tricincta Münster, 1844 is placed in the genus Aptyxiella (comb. nov.). Nerinea staszycii (Zeuschner, 1850) is placed in the genus Endoplocus (comb. nov.). Polyptyxisella clio (d'Orbigny, 1852) is placed in the genus Ptygamtis (comb. nov.). Keywords: Jurassic, Gastropoda , New Taxa, Diversity, Taxonomy
Journal Article
فريتزلانغ
قليلون جدا هم السينمائيون الذين ترك نتاجهم، باتساع أبعاده وتماسكه الأقصى، علامة مميزة على عصرهم بقوة العلامة التي تركها فريتزلانغ. وهو إذ اخترع الكتابة السينمائية فأنه اظهر منذ أفلامه الأولى كيف أن السينما، وخلافا لما عليه الأمر في المسرح، لا تعمل عملها إلا عن طريق التأثيرات والصور ومقتطفات الحدث. وقد صار فريتزلانغ الوجه المرجعي الرئيس لدي سينمائي الموجة الجديدة. فالنسبة لـ : غودار، إنه السينما، وبالنسبة لـ ريفيت، إن أفلام فريتزلانغ تقدم المثال الأدق، والتصور الارفع والأكثر طموحا للإخراج. ويحتوي هذا الكتاب في قسم أول منه على دراسة تقدم تحديدا للوضع الذي قدم لانغ نتاجه في شروطه وإطاره، وفي جزء ثان منه على ثبت بأفلام لانغ مفصل وتحليلي، فيلما بعد آخر، وفق التسلسل الزمني لظهورها، والجزءان مرفقان بـ 80 صورة فوتوغرافية بالأبيض والأسود.
Book
Narrative and Intermedial Functions of Sound in the Films of Fritz Lang
This paper examines the role of sound as a narrative device in the films of Austrian-American director Fritz Lang. Incorporating several methodological treatments of audio, as well as classic literary narratology and media studies, the acoustics and spatial landscapes of Lang’s filmography and its narratives are analysed, establishing ways in which sound helps Lang build theme, mood, and meaning. After his early intermedial avant-garde experiments, the director’s technique of constructing complex sonic environments gradually evolved into a more simplified, and at times even mundane, auditory landscape that can be observed in his later films. This shift is indicative of the overall development of sound usage in cinema, but it also relates to Lang’s career trajectory as he fled Germany for the U.S. to be at the forefront of establishing film noir. Despite these later developments, Fritz Lang remains one of the first directors to achieve a meaningful unity of sound and image, reinventing the film experience. В этой статье рассматривается роль звука как нарративного приема в фильмах австро-американского режиссера Фрица Ланга. Методологической основой служат аудио и медиа исследования, классическая литературная и медиум специфичная нарратологию. В работе анализируются акустика и пространственные ландшафты фильмов Ланга, и их нарративы и устанавливаются способы, благодаря которым звук помогает Лангу выстраивать тему, настроение сцены и смысл. После ранних интермедиальных авангардных экспериментов техника Ланга по построению сложных звуковых сред постепенно эволюционировала в более упрощенный, а порой даже обыденный слуховой ландшафт его более поздних фильмов. Этот сдвиг свидетельствует об общем развитии использования звука в кино, но он также связан с траекторией карьеры Ланга, когда он бежал из Германии в США и оказался одним из создателей жанра нуар. Несмотря на эти эволюционные изменения Ланг остается одним из первых режиссеров, достигших значимого единства звука и изображения, переосмыслив опыт просмотра фильма.
Journal Article
Fritz Lang
The name of Fritz Lang-the visionary director ofMetropolis,M,Fury,The Big Heat, and thirty other unforgettable films-is hallowed the world over. But what lurks behind his greatest legends and his genius as a filmmaker? Patrick McGilligan, placed among \"the front rank of film biographers\" by theWashington Post, spent four years in Europe and America interviewing Lang's dying contemporaries, researching government and film archives, and investigating the intriguing life story of Fritz Lang. This critically acclaimed biography-lauded as one of the year's best nonfiction books byPublishers Weekly-reconstructs the compelling, flawed human being behind the monster with the monocle.
eBook
A divided world
The New Deal introduced sweeping social, political and cultural change across the United States, which Hollywood embraced enthusiastically. Then, when the heady idealism of the 1930s was replaced by the paranoia of the postwar years, Hollywood became an easy target for the anticommunists. A Divided World examines some of the important programs of the New Deal and the subsequent response of the film community - especially in relation to social welfare, women's rights and international affairs. The book also provides an analysis of the major works of three European directors - Billy Wilder, Ernst Lubitsch and Fritz Lang - compared and contrasted with the products of mainstream Hollywood. This is a new interpretation of an influential period in American film history and it is sure to generate further debate and scholarship.
eBook
In the Shadow of the “Indeterminate Speech-Act”: The Populist Politics of Rumor in Fritz Lang’s Early Sound Films
Based on Gilles Deleuze’s claim that rumor has been a “cinematographically privileged object” in early sound cinema, this essay will provide a political analysis of the representation of rumor in two early sound films in the transnational oeuvre of Fritz Lang. This interpretation of M―Eine Stadt sucht einen Mörder (Germany, 1931) and Lang’s first Hollywood production Fury (USA, 1936) will show that the shift from silent to sound cinema marks not only an aesthetic and technological innovation, but also coincides with an increased political awareness in the director’s oeuvre. While his films of the silent era remain politically ambiguous and have often been accused of foreshadowing fascist themes and aesthetics, the sound films produced shortly before and after Lang’s emigration to the United States take a clear political stand with regards to the toxic effects of rumors as expressions of populist sentiments and, in this, provide a gateway to the director’s integration into American liberalism.
Journal Article
A companion to Fritz Lang
A Companion to Fritz Lang
\"Fritz Lang's movie-making spans a major part of the history of cinema, across genres, styles, and national contexts. With smartness and sharpness, the essays in this essential volume come from many angles to capture the richness of Lang's cinema and bring great insight to its study.\"
Dana Polan, Cinema Studies, NYU
Fritz Lang's influence on cinema cannot be overstated, with a career that stretched from the silent era in Germany to the decline of the Hollywood studio system in the late 1950s, from the Weimar Republic to Nazi Germany, from Depression America to the McCarthy era. One of the best known émigrés from Germany's school of Expressionism, Lang is also credited with influencing the emergence of film noir.
A Companion to Fritz Lang offers the first full-scale collection of scholarship available in English on one of the most important filmmakers of all time. Addressing much of Lang's voluminous body of work, from Metropolis and M, to lesser-known titles such as Western Union and Clash by Night, this volume offers a superb overview of Lang's cinema with revealing insights into his enduring influence on directors such as Godard, Scorsese, Chabrol, and Tarantino. The two dozen essays presented here are an unrivaled and up-to-the-minute assessment of the prolific and resilient life and vision of one of cinema's greatest auteurs.
eBook
The Death of Classical Cinema
The Death of Classical Cinema uncovers the extremely rich yet insufficiently explored dialogue between classical and modernist cinema, examining the work of three classical filmmakers—Alfred Hitchcock, Fritz Lang, and Vincente Minnelli—and the films they made during the decline of the traditional Hollywood studio system. Faced with the significant challenges posed by alternative art cinema and modernist filmmaking practices in the early 1960s, these directors responded with films that were self-conscious attempts at keeping pace with the developments in film modernism. These films—Lang's The Thousand Eyes of Dr. Mabuse, Hitchcock's Marnie, and Minnelli's Two Weeks in Another Town—were widely regarded as failures at the time and bolstered critics' claims concerning the irrelevance of their directors in relation to contemporary filmmaking. However, author Joe McElhaney sheds new light on these films by situating them in relation to such acclaimed modernist works of the period as Godard's Contempt, Fellini's La dolce vita, Antonioni's Red Desert, and Resnais's Last Year at Marienbad. He finds that these modernist films, rather than being diametrically opposed in form to the work of Hitchcock, Lang, and Minnelli, are in fact profoundly linked to them.
eBook