Der Zweite Blick / The Second View : Alfred Hitchcock: Die Vogel / The Birds: Blake Edwards: Der Partyschreck / The Party: Ridley Scott: Blade Runner: Stefan Ruzowitzky: Anatomie /Anatomy: Ridley Scott: Gladiator -Language: German

Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary
science-fiction film Blade Runner a »700-layer cake«. These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team.

Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock’s heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our »Venus«, wear furs?

In this enterprising move, long-term architectural publisher Axel Menges (whose list running from the 1970s, currently extends to more than 240 titles, many now of historic value) has expanded his new film list with this volume of theory and critique, based on five fully worked case studies. In all, Kirsch has provided a superlative model for assessing the divisions of contemporary film thematics. First, the suspense drama: second, the comedy or satire; third, new science fiction; fourth, the slasher-horror typology; and finally Kirsch returns to a kind of revisionist realism, essentially an historical and rigorous corrective. In postmodern culture, the current parameters are open, the connections random and the galaxy infinite. What is interesting in comparing film critique today with actual contemporary architectural comment and analysis is the extent to which each can benefit from an informed comparability between both fields and it is to be hoped that the overlap can be more openly fostered in future. This volume is a useful, perhaps indispensable, contribution to the wider postmodernist debate pursued in film, a field still barely represented in recent museum and gallery exhibitions: but it is now humming for sure with both students and schools, in this world of instant electronic referencing and accessibility to other precedent and text. Michael Spens, in Studio International, March 2014