Fritz Lang: influences, peers and legacy

Every connection with its receipt

Fritz Lang trained as an architect and painter before falling into the Berlin film industry, and his cinema never stopped building cities, machines and traps out of light. This mix traces the serials, epics and pulp novels that fed him, the Weimar colleagues he competed with, and the dystopias and noirs that still run on his blueprints.

The Kynda mix for Fritz Lang

• Key Influence · Les Vampires by Louis Feuillade (1915). Feuillade's crime serial, with its masked conspirators and secret societies infiltrating a modern capital, set the template Lang adopted wholesale in Die Spinnen and Dr. Mabuse. The episodic structure, the criminal organization as shadow government, and the taste for disguise and coded messages all pass directly from Feuillade's Paris into Lang's Berlin underworlds, which he then hardened into the master-criminal cycle that defined his German period.one.ieme
• Influencia Obscura · Homunculus by Otto Rippert (1916). Lang worked as a scenario writer in the orbit of this six-part German serial about an artificial man who, denied a soul, rises to dictatorial power and incites the masses to revolt. Its artificial-being-turned-demagogue plot and its crowd-manipulation finale are the clearest ancestor of the false Maria in Metropolis, yet the film survives only in fragments and is almost unseen today.
• Local Roots · Nosferatu by F. W. Murnau (1922). Murnau was Lang's great rival inside the same small Weimar industry, drawing on the same technicians, actors and studio resources around Berlin before both men ended up in Hollywood. Where Lang built artificial worlds brick by brick, Murnau went out into real Baltic landscapes and found the uncanny there — the counter-argument that sharpened Lang's commitment to total studio control.
• Beyond the Medium · The Nibelungenlied by Anonymous (c. 1200). Lang and Thea von Harbou went back past Wagner to the Middle High German epic itself for Die Nibelungen, dedicating the film to the German people and rendering Siegfried, Kriemhild and Hagen in friezes of geometric crowd composition. The poem's remorseless logic of oath, murder and reciprocal vengeance is also the engine of Lang's modern thrillers, where fate is a contract nobody can break.
• Peer · Battleship Potemkin by Sergei Eisenstein (1925). Eisenstein's montage of the massed crowd arrived in Germany in 1926 and electrified the industry just as Lang was shooting Metropolis's worker processions. Both directors treated the human mass as a plastic element to be shaped geometrically, though Lang's crowds move toward catastrophe and submission rather than revolution — a dialogue between two of the decade's great choreographers of collective bodies.
• From the Canon · M by Fritz Lang (1931). Lang's first sound film turns noise into evidence: the whistled Grieg motif that identifies the killer, the overlapping parallel montage of police and underworld hunting the same man, and Peter Lorre's final plea before a criminal tribunal. It fuses the Mabuse-era conspiracy structure with documentary procedure, and remains the hinge between his German monumentalism and the American crime films to come.
• Key Collaborator · Metropolis (novel) by Thea von Harbou (1925). Von Harbou was Lang's wife and co-screenwriter on every major German film from Der müde Tod through The Testament of Dr. Mabuse, and she published Metropolis as a novel alongside the production. Her mysticism, her melodrama and eventually her Nazi party membership — the rupture that ended the marriage and sent Lang into exile — are inseparable from the films' grandeur and their politics.
• Legacy · Blade Runner by Ridley Scott (1982). Scott has repeatedly named Metropolis among the visual sources for his stratified future Los Angeles, where the privileged occupy pyramids above a rain-soaked underclass street. The replicant who is more human than her makers descends directly from Lang's false Maria, and the film's whole premise — that a city's architecture is its class system made visible — is Lang's thesis restated in neon.

What influenced Fritz Lang

• Homunculus by Otto Rippert (1916). Homunculus (Otto Rippert) — ghost for Fritz Lang “The script was written by Robert Reinert, and the film foreshadows various elements of Fritz Lang's 1927 Metropolis, as well as serving as a model for later adaptations of Mary Shelley's Frankenstein rather than the original 1910 version.” (en.wikipedia.org)
• Les Vampires by Louis Feuillade (1915). Les Vampires (Louis Feuillade) — titan for Fritz Lang “He is credited with developing many of the thriller techniques used by Fritz Lang, Alfred Hitchcock, and others.” (en.wikipedia.org)
• The Golem: How He Came into the World by Paul Wegener (1920). The Golem: How He Came into the World (Paul Wegener) — titan for Fritz Lang (also via Metropolis) (themoviedb.org)
• Bauhaus. The film's art direction is stated to draw influence from Bauhaus. (via Metropolis) “the film's art direction by Otto Hunte , Erich Kettelhut , and Karl Vollbrecht draws influence from opera, Bauhaus , Cubist , and Futurist design” (Wikipedia)
• Cubism. The film's art direction is stated to draw influence from Cubism. (via Metropolis) “the film's art direction by Otto Hunte , Erich Kettelhut , and Karl Vollbrecht draws influence from opera, Bauhaus , Cubist , and Futurist design” (Wikipedia)
• Futurism. The film's art direction is stated to draw influence from Futurism. (via Metropolis) “the film's art direction by Otto Hunte , Erich Kettelhut , and Karl Vollbrecht draws influence from opera, Bauhaus , Cubist , and Futurist design” (Wikipedia)
• Art Deco. The city design in Metropolis is described as strongly informed by Art Deco. (via Metropolis) “The appearance of the city in Metropolis is strongly informed by the Art Deco movement” (Wikipedia)
• Upper Silesian Tower. The New Babel Tower design was inspired by the Upper Silesian Tower. (via Metropolis) “The New Babel Tower, for instance, has been inspired by Upper Silesian Tower in Poznań fairgrounds, which was recognized in Germany as a masterpiece of architecture.” (Wikipedia)
• The Tower of Babel by Pieter Brueghel. The Tower of Babel imagery was modeled after Brueghel's painting. (via Metropolis) “The Tower of Babel in Maria's recounting of the biblical story was modeled after this 1563 painting by Pieter Brueghel .” (Wikipedia)
• Blackmail by Alfred Hitchcock. The Schüfftan process pioneered in Metropolis was used again in Hitchcock's Blackmail. (via Metropolis) “This new technique was seen again just two years later in Alfred Hitchcock 's film Blackmail (1929).” (Wikipedia)
• Claude Debussy. Debussy is named among the concept series’ inspirations. (via Metropolis) “The Metropolis concept series draws inspiration from a wide range of musical, cinematic and other sources, ranging from Alfred Hitchcock to Debussy to Philip K. Dick .” (Wikipedia)
• Philip K. Dick. Dick is named among the concept series’ inspirations. (via Metropolis) “The Metropolis concept series draws inspiration from a wide range of musical, cinematic and other sources, ranging from Alfred Hitchcock to Debussy to Philip K. Dick .” (Wikipedia)
• The Indian Tomb by Joe May (1921). The Indian Tomb (Joe May) — ghost for Fritz Lang “During his convalescence he began writing plays and simple scenarios with Austrian film director Joe May devising a two-reel film from a Lang scenario.” (en.wikipedia.org)
• Dr. Mabuse, der Spieler by Norbert Jacques (1921). Dr. Mabuse, der Spieler (Norbert Jacques) — culture for Fritz Lang (openlibrary.org)
• The Nibelungenlied by Anonymous. The Nibelungenlied (Anonymous) — culture for Fritz Lang (openlibrary.org)
• The Cabinet of Dr. Caligari by Robert Wiene (1920). The Cabinet of Dr. Caligari (Robert Wiene) — titan for Fritz Lang (themoviedb.org)
• La Città Nuova by Antonio Sant'Elia (1914). La Città Nuova (Antonio Sant'Elia) — culture for Fritz Lang “The production design of dystopian films like Fritz Lang's 1927 Metropolis and Ridley Scott's 1982 Hollywood movie Blade Runner is also indebted to Sant'Elia's ideas.” (en.wikipedia.org)
• The Sleeper Awakes by H. G. Wells (1910). The Sleeper Awakes (H. G. Wells) — titan for Metropolis (via Metropolis) (openlibrary.org)
• The Tower of Babel by Pieter Bruegel the Elder (1563). The Tower of Babel (Pieter Bruegel the Elder) — culture for Metropolis (via Metropolis) (wikidata.org)
• Tomorrow's Eve (L'Ève future) by Auguste Villiers de l'Isle-Adam (1886). Tomorrow's Eve (L'Ève future) (Auguste Villiers de l'Isle-Adam) — titan for Metropolis (via Metropolis)
• Glass Architecture (Glasarchitektur) by Paul Scheerbart (1914). Glass Architecture (Glasarchitektur) (Paul Scheerbart) — ghost for Metropolis (via Metropolis)
• Two Planets (Auf zwei Planeten) by Kurd Lasswitz (1897). Two Planets (Auf zwei Planeten) (Kurd Lasswitz) — ghost for Metropolis (via Metropolis)

Peers and kindred spirits

• Thea von Harbou. Von Harbou co-wrote Lang’s films through 1933. (also via Dr. Mabuse the Gambler, Die Nibelungen, Metropolis) “Because her work with Lang spans the bulk of his Weimar oeuvre, it is difficult to distinguish their respective contributions.” (Women Film Pioneers Project)
• Jean-Luc Godard (1930). Lang collaborated with Godard on Le Mépris out of admiration. (also via Contempt, Breathless) “Fritz Lang agreed to take part in Godard's film Le Mépris due to his admiration of Godard as a director” (Wikipedia)
• F. W. Murnau. Metropolis (Fritz Lang) — peer for F. W. Murnau (via Metropolis, The Last Laugh, Nosferatu) “Flaherty, Emil Jannings, and Fritz Lang, who delivered the eulogy.” (en.wikipedia.org)
• Joe May. May developed a film from a scenario by Lang. (also via The Indian Tomb) “Das indische Grabmal I / Die Sendung des Yoghi . Dir.: Joe May, sc/adp.: Thea von Harbou, Fritz Lang, aut: Thea von Harbou (May-Film GmbH Germany 1921)” (Women Film Pioneers Project)
• Decla Film. Lang was hired as a writer at Decla Film. “Kämpfende Herzen/ Die Vier um die Frau . Dir.: Fritz Lang, sc.: Thea von Harbou, Fritz Lang (Decla-Bioscop AG Germany 1921)” (Women Film Pioneers Project)
• Expressionism. The article places Lang in Germany’s Expressionist school. “many questions directed at the German Expressionist titan reveal obsessions of the French New Wave icon” (The Film Stage)
• UFA. Lang worked as a director at UFA. “Lang bristled at the creative theft (as he saw it anyway) and went packing to Ufa, promptly flourishing as one of the preeminent filmmakers in the world.” (MUBI Notebook)
• Hollywood Anti-Nazi League. Lang was involved in creating the Hollywood Anti-Nazi League. “A small group of activist celebrities founded the HANL in July of 1936. Writers Dorothy Parker and Donald Ogden Stewart, director Fritz Lang, actor Frederic March and composer Oscar Hammerstein worked to unite a broad spectrum of politic…” (California State University, Northridge Digital Library)
• Artur Brauner. Lang proposed an original film for Brauner’s Mabuse series. “There, at the invitation of producer Artur Brauner, of CCC Filmkunst, Lang returned to the pilfered property of “The Indian Tomb”” (MUBI Notebook)
• The Lodger: A Story of the London Fog. The Lodger: A Story of the London Fog (Alfred Hitchcock) — peer for Fritz Lang “Griffith and Buster Keaton, and particularly liked Fritz Lang's Der müde Tod (released in Britain in 1921 as Destiny).” (en.wikipedia.org)
• Glenn Ford. Lang discusses working with Ford while answering a question about a fight scene in The Big Heat. “Glenn Ford. Glenn Ford is a very, very clever actor, and he knows exactly his limits. When you talk with him the first time there are no limits, he can do everything.” (MUBI Notebook)
• The Last Laugh by F. W. Murnau (1924). The Last Laugh (F. W. Murnau) — collaborator for Fritz Lang “Flaherty, Emil Jannings, and Fritz Lang, who delivered the eulogy.” (en.wikipedia.org)
• Metropolis (novel). Metropolis (novel) (Thea von Harbou) — collaborator for Fritz Lang “He returned to Germany in the late 1950s, directing a two-part adaptation of his ex-wife Thea von Harbou's novel The Indian Tomb, and a third Dr.” (en.wikipedia.org)
• Nero-Film. Lang subsequently worked at Nero-Film. “Lang started work as a director at the German film studio UFA , and later Nero-Film , just as the Expressionist movement was building.” (Wikipedia)
• Nosferatu by F. W. Murnau (1922). Nosferatu (F. W. Murnau) — geography for Fritz Lang “Flaherty, Emil Jannings, and Fritz Lang, who delivered the eulogy.” (en.wikipedia.org)
• Bartlett Cormack. Lang recalls discussing his approach to Fury with screenwriter Cormack. “So when I found this in the chests of MGM—and they have a very good writer, Bartlett Cormack—we talk what I wanted to do.” (MUBI Notebook)
• Otto Katz. Lang worked with Katz in connection with the league’s creation. “By the time Fury was released, Lang had been involved in the creation of the Hollywood Anti-Nazi League, working with Otto Katz , a Czech Jew who was a Comintern spy.” (Wikipedia)
• Metropolis: Metropolis Rescore. The New Pollutants created a live rescore performed alongside screenings of Metropolis. (via Metropolis) “The New Pollutants ( Mister Speed and DJ Tr!p) has performed Metropolis Rescore live for festivals since 2005” (Wikipedia)
• Factory Floor. Factory Floor created a new live score for Metropolis, later released as an album. (via Metropolis) “the British electronic music duo Factory Floor were commissioned by London's Science Museum to create and perform a new 150-minute live score for a screening of ''Metropolis'' at the museum's IMAX cinema” (Wikipedia)
• Jeff Mills. Jeff Mills created a techno score for Metropolis, released as an album. (via Metropolis) “In 2000, Jeff Mills created a techno score for Metropolis which was released as an album.” (Wikipedia)
• Gerda Maurus. Maurus was a leading actress in Woman in the Moon. (via Woman in the Moon) “Gerda Maurus , the leading actress in Lang's last silent films Spione (1928) and Woman in the Moon (1929)” (Wikipedia)
• Billy Wilder (1906). M (Fritz Lang) — geography for Billy Wilder (via M) “Murnau and Fritz Lang, People on Sunday was considered as a groundbreaking example of the Neue Sachlichkeit or New Objectivity movement in German cinema.” (en.wikipedia.org)
• Sergei Eisenstein. Metropolis (Fritz Lang) — peer for Sergei Eisenstein (via Metropolis, Battleship Potemkin) (themoviedb.org)
• Pandora's Box by G. W. Pabst (1929). Pandora's Box (G. W. Pabst) — geography for Fritz Lang (themoviedb.org)
• Le Quai des brumes by Marcel Carné (1938). Le Quai des brumes (Marcel Carné) — collaborator for Fritz Lang (themoviedb.org)
• The Blue Angel by Josef von Sternberg (1930). The Blue Angel (Josef von Sternberg) — peer for Fritz Lang (themoviedb.org)
• Battleship Potemkin by Sergei Eisenstein (1925). Battleship Potemkin (Sergei Eisenstein) — peer for Fritz Lang (themoviedb.org)
• Madame DuBarry by Ernst Lubitsch (1919). Madame DuBarry (Ernst Lubitsch) — geography for Fritz Lang (themoviedb.org)
• Berlin Alexanderplatz by Alfred Döblin (1929). Berlin Alexanderplatz (Alfred Döblin) — geography for Metropolis (via Metropolis) (openlibrary.org)
• Alpine Architecture (Alpine Architektur) by Bruno Taut (1919). Alpine Architecture (Alpine Architektur) (Bruno Taut) — geography for Metropolis (via Metropolis)
• The Tunnel (Der Tunnel) by Bernhard Kellermann (1913). The Tunnel (Der Tunnel) (Bernhard Kellermann) — peer for Metropolis (via Metropolis)
• The Power of Three (Die Macht der Drei) by Hans Dominik (1922). The Power of Three (Die Macht der Drei) (Hans Dominik) — peer for Metropolis (via Metropolis)

Who Fritz Lang influenced

• Contempt by Jean-Luc Godard (1963). Contempt (Jean-Luc Godard) — legacy for Fritz Lang “The former’s immense cinephilia is as uncontainable as ever in those wise, winking scenes where a forefather is willing to play both himself and something of a scripted caricature — a loving portrait that, in its application, cuts right …” (The Film Stage)
• Frank Gehry (1929). Gehry cites filmmaker Fritz Lang's fantasy city imagery as an influence on the Guggenheim Bilbao design. (also via Metropolis) “so I carried on with this Fritz Long image and made a--sort of an idealistic city in the atrium that's vertical” (The NewsHour with Jim Lehrer (public broadcasting))
• Alfred Hitchcock (1899). Dr. Mabuse the Gambler (Fritz Lang) — titan for Alfred Hitchcock (via Dr. Mabuse the Gambler, Der müde Tod, Metropolis) “he watched Charlie Chaplin , D. W. Griffith and Buster Keaton , and particularly liked Fritz Lang 's Der müde Tod (released in Britain in 1921 as Destiny )” (Wikipedia)
• Janelle Monáe (1985). Janelle Monáe's concept albums are based on Metropolis. (via Metropolis, Fritz Lang, The ArchAndroid) “Janelle Monáe based both her concept albums on the original film, including her EP, Metropolis: Suite I (The Chase) , released in mid-2007, and The ArchAndroid , released in 2009.” (Wikipedia)
• Dark City by Alex Proyas (1998). Dark City (Alex Proyas) — legacy for Fritz Lang “If anything we tried to go right back to "Metropolis" rather than emulate any more modern movies. That was really the origin of this kind of movie making anyway. So yeah, we were visually inspired by "Metropolis" and I like that.” (SPLICEDwire)
• Osamu Tezuka. Tezuka's manga was inspired by seeing a still image from Metropolis. (via Metropolis, Metropolis (manga)) “Mangaka Osamu Tezuka has said that he saw a single still image of the movie in a magazine at the time of creating his manga.” (Wikipedia)
• Jean-Paul Gaultier (1952). Metropolis (Fritz Lang) — culture for Jean-Paul Gaultier (via Metropolis) “Maria’s robotic transformation in Fritz Lang’s 1927 Weimar sci-fi masterpiece, Metropolis , have in common? They all turned up in Jean Paul Gaultier ‘s Fall/Winter 2013 collection” (Interview Magazine)
• Citizen Kane by Orson Welles (1941). Welles studied films by Fritz Lang among others while preparing to direct. “films by Frank Capra , René Clair , Fritz Lang , King Vidor” (Wikipedia)
• Breathless by Jean-Luc Godard. Breathless includes visual quotations from Fritz Lang's films. “visual quotations from the films of Ingmar Bergman, Samuel Fuller, Fritz Lang and others” (Wikipedia)
• Blade Runner by Vangelis. The film shares design similarities with Lang's Metropolis. (via Metropolis) “Blade Runner has numerous similarities to Fritz Lang 's Metropolis , including a built-up urban environment, in which the wealthy literally live above the workers, dominated by a huge building” (Wikipedia)
• David Dryer (2000). Dryer directly used Metropolis stills as reference for effects shots. (via Metropolis) “Special effects supervisor David Dryer used stills from Metropolis when lining up Blade Runner ' s miniature building shots.” (Wikipedia)
• Diamond Dogs. David Bowie's Diamond Dogs album and tour were inspired by Metropolis, according to Amanda Lear. (via Metropolis) “He rented the film and ran it over and over again in his house. And that's where Diamond Dogs came from – the whole staging and album and everything, Bowie got from Metropolis” (Wikipedia)
• Live! In the Air Age. Be Bop Deluxe's album cover used a still from Metropolis. (via Metropolis) “The cover of 1970s British rock band Be Bop Deluxe 's 1977 album Live! In the Air Age is a still from the film.” (Wikipedia)
• Motörhead. Lemmy wrote the song 'Metropolis' after seeing the film. (via Metropolis) “The rock band Motörhead 's album Overkill contains the song "Metropolis", which was written by Lemmy , the band's lead singer and bassist, after he saw the film in 1979.” (Wikipedia)
• C-3PO. C-3PO's design was inspired by the Maschinenmensch from Metropolis. (via Maschinenmensch) “When designing the character of C-3PO for Star Wars , Ralph McQuarrie was inspired by the aesthetic of the Maschinenmensch , the two bearing a striking resemblance to one another.” (Wikipedia)
• Queen. Queen's Radio Ga Ga video uses imagery and clips from Metropolis. (via Metropolis) “Queen 's 1984 music video for song " Radio Ga Ga " uses imagery and clips from the movie.” (Wikipedia)
• Madonna (1958). Madonna's Express Yourself video pays homage to Metropolis. (via Metropolis) “Madonna 's 1989 music video " Express Yourself " pays homage to the film.” (Wikipedia)
• Whitney Houston by Whitney Houston (1963). Whitney Houston's video pays homage to Metropolis with a Maschinenmensch-inspired costume. (via Metropolis) “Whitney Houston 's 1994 music video " Queen of the Night " also pays homage to Lang's film, with Houston wearing a metallic costume inspired by the Maschinenmensch .” (Wikipedia)
• Superman's Metropolis. Superman's Metropolis graphic novel places Superman in the world of Lang's film. (via Metropolis) “The 1996 DC Comics graphic novel Superman's Metropolis is an Elseworlds story that places Superman in the world of Fritz Lang's Metropolis .” (Wikipedia)
• System of a Down. System of a Down's Sugar video features footage from Metropolis. (via Metropolis) “In 1998, American nu metal band System of a Down released a music video called " Sugar ", which features footage from Metropolis .” (Wikipedia)
• Lady Gaga (1986). Lady Gaga's music videos reference Metropolis. (via Metropolis) “Lady Gaga has made a series of references to Lang's film in some videos for her songs.” (Wikipedia)
• Beyoncé. Beyoncé's costumes are inspired by the Maschinenmensch. (via Maschinenmensch) “Beyoncé has also made a series of references to Lang's film, wearing costumes inspired by Maschinenmensch .” (Wikipedia)
• The M Machine. The M Machine's EP is inspired by Metropolis. (via Metropolis) “The 2012 EP Metropolis Part I by the electronic music trio The M Machine is a conceptual work inspired by the film.” (Wikipedia)
• Sepultura. Sepultura named an album after a quote from Metropolis. (via Metropolis) “The Brazilian metal band Sepultura named their 2013 album The Mediator Between Head and Hands Must Be the Heart after a quote from the film.” (Wikipedia)
• St. Vincent by St. Vincent (2014). St. Vincent's Digital Witness video presents her as a stand-in for Maria from Metropolis. (via Metropolis) “The 2014 music video " Digital Witness " by St. Vincent in collaboration with Chino Moya presents "a surreal, pastel-hued future" in which she is a stand-in for Maria.” (Wikipedia)
• Luis Buñuel. Buñuel said Lang's film prompted his decision to devote himself to cinema. (via Der müde Tod) “Buñuel's interest in films was intensified by Fritz Lang 's Der müde Tod : "I came out of the Vieux Colombier [theater] completely transformed. Images could and did become for me the true means of expression. I decided to devote myself t…” (Wikipedia)
• The ArchAndroid by Janelle Monáe (2010). The album cover was inspired by the film’s poster. (via Metropolis) “Aside from sharing a name, they also share visual styles (the cover for The ArchAndroid is inspired by the iconic poster for Metropolis ), conceptual themes and political goals, using expressionistic future scenarios to examine and explo…” (Wikipedia)
• Blade Runner by Ridley Scott (1982). Blade Runner (Ridley Scott) — legacy for Fritz Lang (themoviedb.org)
• Metropolis (manga) by Osamu Tezuka (1949). Metropolis (manga) (Osamu Tezuka) — legacy for Metropolis (via Metropolis) “While still in medical school Tezuka published his first masterpieces: a trilogy of science fiction epics called Lost World (1948), Metropolis (1949), and Nextworld (1951).” (en.wikipedia.org)
• Neuromancer by William Gibson (1984). Neuromancer (William Gibson) — legacy for Metropolis (via Metropolis) (openlibrary.org)
• Arthur Penn (1922). You Only Live Once (Fritz Lang) — ghost for Arthur Penn (via You Only Live Once) (wikidata.org)
• Tony Berg. M (Fritz Lang) — culture for Tony Berg (via M) (themoviedb.org)
• Psycho by Alfred Hitchcock (1960). M (Fritz Lang) — ghost for Psycho (via M) (themoviedb.org)
• Syd Mead (1933). Metropolis (Fritz Lang) — culture for Syd Mead (via Metropolis) (themoviedb.org)
• Forbidden Planet by Fred M. Wilcox (1956). Metropolis (Fritz Lang) — titan for Forbidden Planet (via Metropolis) (themoviedb.org)
• David Bowie (1947). Metropolis (Fritz Lang) — culture for David Bowie (via Metropolis)
• Kraftwerk (1961). Metropolis (Fritz Lang) — culture for Kraftwerk (via Metropolis)
• 2001: A Space Odyssey by Stanley Kubrick (1968). Metropolis (Fritz Lang) — titan for 2001: A Space Odyssey (via Metropolis)
• Haddaway. Haddaway's Life video was inspired by Metropolis. (via Metropolis)