Peripheral Visions: The Hidden Stages of Weimar Cinema

Clinefelter, Joan L.; Calhoon, Kenneth S.

doi:10.2307/1433030

German Studies Review

2002

DOI: 10.2307/1433030

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Peripheral Visions: The Hidden Stages of Weimar Cinema

Joan L. Clinefelter¹,

Kenneth S. Calhoon²

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Fritz Lang’s Radio Aesthetic: M. Eine Stadt sucht einen Mörder

Ryan¹

2013

gsr

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Prior to sound film’s debut the matter was arguably plain: radio was a sound medium, and film was a visual medium; radio was the purveyor of fantasized images, and film was the purveyor of fantasized sound. With the emergence of the talkie, however, a new era in film aesthetics ensued, and cinema turned to radio in order to learn from the acoustic medium’s experience with dramatic sound design. In this regard, Fritz Lang’s M serves as an excellent case study. My contention is that crucial to M’s celebrated sound track is a quintessentially radiophonic sound design.

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Fritz Lang’s Radio Aesthetic: M. Eine Stadt sucht einen Mörder

Ryan¹

2013

gsr

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The Transition from the Silent into the Sound Era in German Cinema

Helmers¹

2018

Music, Sound, and the Moving Image

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Peripheral Visions: The Hidden Stages of Weimar Cinema

Cited by 2 publications

References 0 publications

Fritz Lang’s Radio Aesthetic: M. Eine Stadt sucht einen Mörder

Fritz Lang’s Radio Aesthetic: M. Eine Stadt sucht einen Mörder

The Transition from the Silent into the Sound Era in German Cinema

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