12. Nietzsche’s Fingerprints on The Hands of Orlac (1924)

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. List of Illustrations vii
4. List of Contributors xi
5. Traditions in World Cinema xv
6. Introduction 1
7. PART I. EXPRESSIONISM IN GERMAN CINEMA
8. 1. Expressionist Cinema—Style and Design in Film History 15
9. 2. Of Nerves and Men: Postwar Delusion and Robert Reinert’s Nerven 41
10. 3. Franjo Ledic: A Forgotten Pioneer of German Expressionism 65
11. 4. Expressionist Film and Gender: Genuine, A Tale of a Vampire (1920) 77
12. 5. “The Secrets of Nature and Its Unifying Principles”: Nosferatu (1922) and Jakob von Uexküll on Umwelt 93
13. 6. Raskolnikow (1923): Russian Literature as Impetus for German Expressionism 117
14. PART II. EXPRESSIONISM IN GLOBAL CINEMA
15. 7. The Austrian Connection: The Frame Story and Insanity in Paul Czinner’s Inferno (1919) and Fritz Freisler’s The Mandarin (1918) 133
16. 8. “The Reawakening of French Cinema”: Expression and Innovation in Abel Gance’s J’accuse (1919) 145
17. 9. Here Among the Dead: The Phantom Carriage (1921) and the Cinema of the Occulted Taboo 169
18. 10. Drakula halála (1921): The Cinema’s First Dracula 190
19. 11. Le Brasier ardent (1923): Ivan Mosjoukine’s clin d’oeil to German Expressionism 220
20. 12. Nietzsche’s Fingerprints on The Hands of Orlac (1924) 235
21. 13. “True, Nervous”: American Expressionist Cinema and the Destabilized Male 248
22. 14. Dos monjes (1934) and the Tortured Search for Truth 266
23. 15. Maya Deren in Person in Expressionism 287
24. Index of Names 303
25. Index of Film Titles 309