{"title":"The movie “M” (1931) by Fritz Lang in the context of the scientific, social and cultural life of Germany in the 20-30 - ies of the twentieth century","authors":"Sergei N. Roman","doi":"10.17223/22220836/47/17","DOIUrl":null,"url":null,"abstract":"The article deals with the specifics of the social, political and cultural life in the Weimar Republic at time of the making of Fritz Lang's movie “M”. While showing the connection between the historic events of the time and the ideas conveyed in the movie, the author rejects the traditional interpretation of “M” as a pamphlet reflecting the problems in Germany before the national socialists came to power. The cooperation of the police and the criminal elements making attempts to catch the maniac is considered to be a logical continuation of the spiritual unity of the upper and lower classes shown in Lang's “Metropolis” four years before. The movie was banned by the Nazis in 1934, which can be explained by the inappropriateness of such ideas in the society where criminal behaviour is associated with biological deficiency - the question of criminal liability of the mentally deficient raised in “M” loses its relevance for the same reason. © С.Н. Роман, 2022 In the first place the movie is analyzed from the perspective of the artistic evolution of the detective genre, caused by the gradual strengthening of the realistic tendencies in cinema and the weakening of the influence of expressionism on the artistic life in general and Lang's style in particular. A criminal act is no longer shown by Lang - as opposed to his earlier works - to be an act provoked by unexplainable mystical forces; now it receives psychological explanation. The rejection of romantic traditions typical of the German cinema of the twenties, the appeal to pseudo-documentary filming, the arrival of sound in cinema - all this leads to the simplification of visual imagery, later on a characteristic feature of the movies of the thirties. A special focus is made on Lang's application of suspense, which is the key to understanding the whole composition of the artwork and becomes an integral part of detective movies made popular by Alfred Hitchcock for dozens of years to come.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"46 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.17223/22220836/47/17","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
弗里茨·朗的电影《M》(1931)以20世纪20-30年代德国的科学、社会和文化生活为背景
本文论述了弗里茨·朗的电影《M》拍摄时期魏玛共和国的社会、政治和文化生活的具体情况。作者在展示当时的历史事件与电影所传达的思想之间的联系的同时,驳斥了将《M》解释为反映国家社会主义党执政之前德国问题的小册子的传统解释。警方与犯罪分子合作抓捕疯子,被认为是四年前朗的《大都会》中表现的上层与下层的精神统一的逻辑延续。这部电影在1934年被纳粹禁止,这可以解释为在犯罪行为与生理缺陷联系在一起的社会中,这种想法是不合适的——《M》中提出的精神缺陷的刑事责任问题也因同样的原因失去了相关性。©СН。Роман, 2022首先从电影中现实主义倾向的逐渐加强和表现主义对整个艺术生活,尤其是朗的风格影响的减弱所导致的侦探类型的艺术演变的角度来分析电影。与他早期的作品相反,朗不再把犯罪行为表现为一种由无法解释的神秘力量引发的行为;现在它得到了心理学上的解释。对20年代德国电影典型的浪漫主义传统的拒绝,对伪纪录片拍摄的呼吁,电影中声音的到来——所有这些都导致了视觉图像的简化,后来成为30年代电影的一个特征。我们特别关注了朗对悬疑的运用,这是理解整个艺术作品构成的关键,也是希区柯克几十年来流行的侦探电影的重要组成部分。
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