The Mabuse phenomenon is recognized as an icon of horror in Germany as Frankenstein and Dracula are in the United States. A study of the 12 motion pictures and five books (and some secondary films) that make up the eight decades of adventures of master criminal Mabuse, created by author Norbert Jacques in the best-selling 1922 German novel and brought to the screen by master filmmaker Fritz Lang in the same year. Both on screen and off, the story of Dr. Mabuse is a story of love triangles and revenge, of murder, suicides, and suspicious deaths, of betrayals and paranoia, of fascism and tyranny, deceptions and conspiracies, mistaken identities, and transformation. This work, featuring much information never before published in English, provides an understanding of a modern mythology whose influence has pervaded popular culture even while the name Mabuse remains relatively unknown in the United States.

Back in print at last is Dr. Mabuse. This extremely rare English translation of the Norbert Jacques novel appeared only once in 1923 and then was lost for decades. And what a fantastic find it is! Molded as much by legendary film director Fritz Lang as by novelist Norbert Jacques, Dr. Mabuse remains one of the more enigmatic figures in crime fiction and cinema. Created between the Great War and World War II, he became an embodiment of the rising Nazi Party and the disintegration of Germany's Weimar Republic. The parallels were so close between Hitler and Mabuse that Lang's first two Mabuse films were banned in Germany by Joseph Goebbels' propaganda machine. There is a broad streak of the weird running through the Dr. Mabuse legacy. Is he an evil genius-a mere mortal with a malignant bent, or is he a demon spirit who carries on the dark crusade long after the human avatar is destroyed by his own maniacal ambitions? The plot is wickedly simple. Dr. Mabuse has a mad dream to create his own personal empire in Brazil, an empire called Citopomar. In Citopomar he can rule without constraint. He can be a god! . . . but even a god requires some start-up cash, so he regrettably returns to his hated Europe to raise funds by any criminal means necessary. Why make money when you can steal it? Why merely cheat somebody at cards when you can control their hand through telepathic hypnosis? Why be just another common criminal when you can be an evil genius mastermind bent on world domination? Man or devil, he is a prototype super-villain whose sinister incantations still resonate in fiction and film today. Fascinating parallels can be found in Ian Fleming's first James Bond outing, Casino Royale. In that novel, bad boy Le Chiffre trolls the high-roller casinos to fund his schemes and even dares to embezzle from SMERSH in order to fund his human trafficking pipeline. Le Chiffre is yet another reincarnation of Dr. Mabuse. Bruin Asylum is proud to announce the resurrection of Dr. Mabuse by Norbert Jacques. English translation by Lillian A. Clare.

ln this volume Tom Gunning examines the films of Fritz Lang not only as a stylistically coherent body of work, but as an attempt to portray the modern world through cinema. The world of modernity in which systems replace individuals is conveyed by Lang's mastery of cinematic set design, composition and editing. Lang presents not only a decades-long vision of cinematic narrative which can be compared to that of Alfred Hitchcock or Jean Renoir, but a view of modernity that relates strongly to the ideas of Adorno, Brecht, Benjamin and Kracauer. From the sweeping allegorical films of the 20s to the chilly and abstract thrillers of the 50s, Lang's films, Gunning claims, are 'among the most precious records of the twentieth century'. The Films of Fritz Lang immeasurably enriches our understanding of a great artist and, in so doing, reimagines what a film arlist is: an author who fades away even in being recognised and interpreted, an enigmatic figure at the junction of aesthetics, history, biography and theory.

Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.

A New Statesman Book of the Year London. A city apart. Inimitable. Or so it once seemed. Spiralling from the outer limits of the Overground to the pinnacle of the Shard, Iain Sinclair encounters a metropolis stretched beyond recognition. The vestiges of secret tunnels, the ghosts of saints and lost poets lie buried by developments, the cycling revolution and Brexit. An electrifying final odyssey, The Last London is an unforgettable vision of the Big Smoke before it disappears into the air of memory.

Metropolis is a monumental work. On its release in 1925, after sixteen months' filming, it was Germany's most expensive feature film, a canvas for director Fritz Lang's increasingly extravagant ambitions. Lang, inspired by the skyline of New York, created a whole new vision of cities. One of the greatest works of science fiction, the film also tells human stories about love and family. Thomas Elsaesser explores the cultural phenomenon of Metropolis: its different versions (there is no definitive one), its changing meanings, and its role as a database of twentieth-century imagery and ideologies. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Elsaesser discusses the impact of the 27 minutes of 'lost' footage discovered in Buenos Aires in 2008, and incorporated in a restored edition, which premiered in 2010.

In this comprehensive companion to Weimar cinema, chapters address the technological advancements of each film, their production and place within the larger history of German cinema, the style of the director, the actors and the rise of the German star, and the critical reception of the film.