Tag Archives: Fritz Lang

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Origins & Evolution of the Gothic in Film

The gothic is a quintessentially European aesthetic. Moreover, it pertains and appeals more specifically to those of North-West European descent and is to be found in various modes and tropes throughout North-West European culture and contrasts with the Classicism of Southern Europe. Gothic as a term was first applied to medieval art and particularly architecture by Renaissance critics in similar propagandist fashion to how the term Dark Ages was also used to describe the period following the collapse of the Roman Empire. Read more …

Published: July 20, 2016 | Posted in North American New Right | Also tagged articles, Batman, David Yorkshire, Film Noir, German Expressionism, Goth music, gothic literature, Metropolis, movie reviews, North American New Right, originals, Steampunk, Tim Burton | Comments closed

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An “M” of Our Own:
Creating an Aryan Version of Fritz Lang’s Masterpiece

James J. O'Meara

3,320 words

M (1951)
Directed by Joseph Losey
Produced by Seymour Nebenzal
Writing Credits (in alphabetical order): Leo Katcher (scenario revisions); Fritz Lang (scenario) (uncredited); Norman Reilly Raine (scenario revisions); Waldo Salt (additional dialogue) Thea von Harbou (scenario) (uncredited)
Cast: David Wayne (Martin W. Harrow); Howard Da Silva Read more …

Published: January 5, 2016 | Posted in North American New Right | Also tagged James J. O'Meara, Joseph Losey, M, movie reviews, North American New Right, originals | Comments closed

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Essential Films . . . & Others

James J. O'Meara

Edward Hopper, New York Movie, 1939

3,774 words

Looking over Trevor Lynch’s list of his “Ten Favorite Films” in his forthcoming collection, Son of Trevor Lynch’s White Nationalist Guide to the Movies, it occurred to me that I couldn’t possibly put together such a list, even if I could decide on a criterion or two.

German Cinema Classics
Der Herrscher (1937)

Derek Hawthorne

4,843 words

Der Herrscher (The Sovereign) is a fascinating film for a variety of reasons. The popular idea of cinema in the Third Reich is that is that every film was rife with propaganda. In fact, most films of the period were purely escapist fare, with minimal propaganda content. When propaganda was present, it often took the form of allegory (as in Kolberg), rather than speechifying or preaching. Read more …