Namely as
godfathers
of this 2,000-Mark film.
Kittler-Gramophone-Film-Typewriter
Junger I922, I9?
61. Ibid. , 22.
63. See van Creveld I985, I68-84. 65. Junger I922, I09?
67. Ibid. , I07.
? 68. Ibid. ; ro8.
69. See Theweleit I977-78ir987-89, 2: 176-206.
70. Junger I922, 8. 71. Ibid. , I8.
72. Pynchon I973, 6I4? 73. Bahnemann I97I, I64?
74? Marechal I89I, 407? See also W. Hoffmann I932/33, 456. "As speech
travels through the microphone it becomes more acute, while its living immediacy dwindles. What do we mean by acuteness? If one studies the technological repro- duction of speech in film, for example, the muscular action of the mouth is pre- sented much more acutely than we would observe in real life. "
75? Mitry I976, 76.
76. Marechal I 89 I , 407.
286 Notes to Pages I36-50
77? Demeny 1899, 348.
7 8 . See Demeny 1904, as well as Virilio I9841I989, 69 . However, a s early as 1900 Bergson illustrated in his lectures the "cinematographic illusion of con- sciousness" through the examples of the goose step and the cinematic rendition of a defiling regiment. See Bergson I9071I9 I I , 3 29-3 I .
79? Hirth 1897, 364-65.
80. Junger is playing on the German Uhrziffern, which literally means "watch ciphers" and further implies that these ciphers are classified. -Trans.
81. Junger 1922, IOI.
82. SeeFussell1975,315. The"watch,worn. . . ontheinsideofhiswrist," by contrast, is "WW II style" (Pynchon 1973, 141).
8 3 . A reference to the 198 5 song "Tanz den Hitler / Tanz den Mussolini" by the German punk rock group DAF (Deutsch-Amerikanische Freundschaft [German-American friendship]). -Trans.
84. Foucault I9761I990, 56.
85. See Cagnetta 1981, 39.
86. See Farges 1975, 89.
87. Freud, Studies on Hysteria, 1 895, in idem I962, 2: 280.
88. Ibid. 89? Rank I9141I97I, 3-4. 90. Ibid. , 3. 91. See Kittler 1985, 129. 92. See Lichtbild-Buhne, 1926, quoted in Greve 1976, 326.
94? See Urban 1978, 30-38. 96. Ibid. , 2014.
98. Ibid. , 2013.
100. Ibid. , 2014.
berg I9I61I970, 15.
I09. Hennes 1909, 20II-I2.
IIO. See Lacan I9731I978, II3: "Let us go to the great hall of the Dages'
Palace in which are painted all kinds of battles, such as the battle of Lepanto, etc. The social function, which was already emerging at the religious level [of icons], is now becoming clear. Who comes here? Those who form what Retz calls 'les peuples,' the audiences. And what do the audiences see in these vast composi- tions? They see the gaze of those persons who, when the audiences are not there, deliberate in this hall. Behind their picture, it is their gaze that is there. "
III. Cocteau 1992, 39. II2. Bronnen 1927, 139-40.
II3. Nabokov I9261I970, 40. 114. See Lacan I9731I978, 209-13. II5? Pynchon 1973, 157?
I I6. Bronnen 1927, 3 5 . Elsewhere Fitzmaurice remarks: "Some people sup-
port themselves from the writing of books, namely, reviewers. By the way, I once saw a man who read a book; I will never forget that impression" (ibid. , 196).
93. See Schneider 1985, 89-94. 95. Hennes 1909, 201 3 .
97. Ibid. , 2012.
99. Ibid. , 20IO.
IOI. See Kaes 1979, 94.
I03. Ibid. , 62.
104. See Bourneville and Regnard 1 877-78, 2: 208-26.
I05 . See Clement 1975 .
I06. Freud, October 15, 1897, in idem 1985, 272.
I07. See Jentsch 1906, 198 .
I08. Bloem 1922, 57. On the use of puppets in film, see also H. Munster-
I02. Kracauer I9471I974, 67?
? Notes to Pages I5I-57 287
I I 7 . Kittler i s building on both the German word for literacy, Alpha- betismus, and Lacan's Alphabetise, a composite of the French alphabetisme (lit- eracy) and la betise (stupidity). The use of language, in effect, is a culturally in- stilled and mechanical exercise that perpetuates the illusion of an existent (fully present or coherent) soul. -Trans.
II8. Buchner 1842ir963, 129.
II9. See Kittler 1985, II8-24.
120. Cendrars 1926iI970, 207.
121. See Mallarme 1945, 880. "It is not a matter of distorting but of invent-
ing. The coach, with its team of horses, requires the inconvenience of a driver blocking the view: it is left to him, like an oven in front of a cook. Something en- tirely different will have to come about. A bow window, opening onto the space that one moves through magically, with nothing in front: the mechanic is placed in the rear, with his upper body above the roof, to steer like a helmsman. Thus the monster advances in an innovative fashion. This is the vision of a passing man of taste, putting things back in perspective. " On cars and moving cameras in gen- eral, see Virilio 1976, 25 1-57.
122. Schreber 1903ir973, 161.
123. Mach 1886ir914, 4n [trans. modified], from which follows: "The ego is as little absolutely permanent as are bodies. "
124. Freud, "The Uncanny" (1919), in idem 1962, I7: 248. Hauptmann's poem "1m Nachtzug" (In the Night train) casts such railroad doppelgangers in verse (Hauptmann 18881r962-74, 4: 54)?
125. Todorov I970ir973 , I61.
126. Ibid. , I68.
I27. Ibid. , 160.
1 2 8 . Behne, I9 26, in Kaes I983 , 220. For a similar comment, see Bloem
I922, 51.
129. Melies quoted in Toeplitz I973, 26.
I30. Ewers, October 8, 1912, quoted in Zglinicki, I956: 375.
131. See A. M. Meyer, I9I3, quoted in Greve et al. I976, III: "It was a
very real opening night. Many smokings. In the guest gallery one caught occa- sional glimpses of poets and their pretty female company. . . . Goethe, Chamisso, E. Th. A. Hoffmann, Alfred de Musset, Oscar Wilde were present as well.
Namely as godfathers of this 2,000-Mark film. "
I32. Haas, I922, on Hauptmann's film Phantom and in reference to The Student ofPrague, quoted in Greve et al. I976, I IO.
I33? Bronnen I927, I44?
I 34. Ewers quoted in Greve et al. I976, I IO.
I 3 5 . Bloem I922, 56.
I36. Der Kinematograph, advertisement (I929), reproduced in Greve et al.
I976, I27?
137. Benn, August 29, I935, in idem 1977-80, I: 63. Lindau, by the way,
was among the reading matter of Freud's youth.
I38. See the facsimile in Greve et al. 1976, lO8. I 39. Lindau 1906, 26.
140. Ibid. , 8.
? 288
Notes to Pages I57-67
I4L
142.
1 4 3 ?
144.
145.
146.
147?
149.
151?
1 5 2. For the precise phrases in Lindau 1906, 26-27, see Azam 1 893, and
See the analogous passage in Valery I944iI957-60, 2: 282-86. Schreber I903iI973, 86; see also Kittler I985ir990, 296-3? 4. Lindau 1906, 76.
Ibid. , 19?
Ibid. , 2L
Schreber I903iI973, 95; see also 208-IO.
Lindau 1906, 58. 148. Ibid. , 34-35; see also 57? Ibid. , 27. 150. Ibid. , 83.
Ibid. , 47.
Wagner I882iI986, 851-52, 854-55.
1 5 3 . Lindau 1906, 22.
154. Bergson I907iI9II, 306; see also 2-3.
155. Ibid. , 331-32.
156. H. Miinsterberg I9I6ir970, 26.
157. Ibid. , 30.
1 58 . See ibid. , 22, and, on the Miinsterberg-Lindsay connection, Monaco
I977, 298-30L
1 59.
160.
162.
164.
166.
168. Specht (1922, 212-13) calls Leutnant Gustl's inner monologue "fabu-
lous, stupendous, almost uncanny in its truth and power as well as in the vision of a writer who appears to be able to unlock the secret of every human soul"-sim- ply because in this monologue, "the film of words and the phonography of the soul are one and the same. "
169. Meyrink I9I5ir928, 22.
1 70. Ibid. , 5-7.
I7L Balazs 1930, 120. Meyrink, by contrast, knows that essences made of
associations result not from the spirit but from brain functions. Pernath, the pro- tagonist of the framed narrative that evolves as a flow of association or doppel- ganger of the framing I, follows all the patterns of psychophysics when he recog- nizes himself in a "cat gone mad" (eine Katze mit verletzter Gehirnhalfte; 49), and he follows all the patterns of aphasia research when he recognizes the Golem (the exponential doppelganger) precisely in that brain injury: "all these problems had suddenly achieved their terrible solution: I had been mad, and treated by hypnosis. They had locked up a room [the Golem's] that communicated with certain cham- bers in my brain; they had made me into an exile in the midst of the life that sur- rounded me" (Meyrink 191 5ir928, 5 I; see also 19, 21-22, 25-26). [Eine Katze mit verletzter Gehirnhalfte: lit. , "a cat with an injured brain hemisphere. "-Trans. ]
172. H. Miinsterberg I9I6iI970, 15.
173 . Hardenberg (Novalis) I 802ir964, 9 I . 1 74. Ibid? , 90-9L
175. Ibid. , 17.
H. Miinsterberg 1916/1970, 74.
? Ibid. Ibid. , 3 6. Ibid. , 40. Ibid. , 44.
16L Ibid. , 3 L
163 . Ibid. , 37-3 8 . 165. Ibid. , 4L
167. Balazs 1930, 5 L
? 1 7 6. 177. 178. 179? 180. 1 8 1 .
Notes to Pages I67-82 289
H. Munsterberg I9 I6ir970, 1 5 .
Freud, Interpretation ofDreams (1899), in idem 1962, 5: 536.
Lacan I975ir988a, 123.
Ibid. , 140, 125.
See Zglinicki 1956, 338.
See ibid. , 43-44. The parallel between Messter and Lacan was discov-
ered by Lorenz (1985, 209-II). 182. Lacan 1975, 76.
183. 1 84. 185. 186. 187. 188. 189. 190. 191. 192. 193. 194? 195. 196. 19 7.
198. Hesse I927ir957, 210-13.
See Lacan I975/I988a: 140-41.
See Lacan 1966, 680.
Edison, quoted in Monaco 1977, 56. Pinthus I914ir963, 9.
Ibid. , 9-10.
Bloem 1922, 36.
H. Munsterberg I9I6ir970, 87-88.
Balazs 1930, 142.
Pamphlet (1929), reproduced in Greve et al. 1976, 387. Bloem 1922, 25.
A. Braun, "H6rspiel" (1929), in Bredow 1950, 149. Bronnen 1927, 48.
Ibid. , 109.
Ibid. , II6.
Ibid. , 1 30-3 1 . Similar couplings linked gramophone and typewriter. Kracauer (I930ir97I-79, I: 228) describes an industrial training course using gramophone rhythms to make stenographers achieve record performances.
199. 200. 201. 202. 203. 204. 205. 206.
Mann, I928ir933 : 266.
For details, see Fischer and Kittler 1978, 29-37.
See Mann I924ir927, 108.
Ibid. , 801 .
See ibid. , 854-57.
See the brilliant analysis in Matt 1978, 82-100.
Goethe I809ir965-72, 2: 474.
Mann I924ir927, 401 . For an observant analysis of writing and media
in The Magic Mountain, see Kudszus 1974.
207? Mann I924ir927, 168-69.
208. Braune, 1929,inKaes 1983, 352-53. Thereverselinkoffilmandread-
ing has also been claimed, albeit with a dandy's flightiness. "She reads at such a pace," a queen complains about her reader in a novella, "and when I asked her where she had learnt to read so quickly she replied 'In the screens at Cinemas'" (Firbank 1923/1949, 128).
61. Ibid. , 22.
63. See van Creveld I985, I68-84. 65. Junger I922, I09?
67. Ibid. , I07.
? 68. Ibid. ; ro8.
69. See Theweleit I977-78ir987-89, 2: 176-206.
70. Junger I922, 8. 71. Ibid. , I8.
72. Pynchon I973, 6I4? 73. Bahnemann I97I, I64?
74? Marechal I89I, 407? See also W. Hoffmann I932/33, 456. "As speech
travels through the microphone it becomes more acute, while its living immediacy dwindles. What do we mean by acuteness? If one studies the technological repro- duction of speech in film, for example, the muscular action of the mouth is pre- sented much more acutely than we would observe in real life. "
75? Mitry I976, 76.
76. Marechal I 89 I , 407.
286 Notes to Pages I36-50
77? Demeny 1899, 348.
7 8 . See Demeny 1904, as well as Virilio I9841I989, 69 . However, a s early as 1900 Bergson illustrated in his lectures the "cinematographic illusion of con- sciousness" through the examples of the goose step and the cinematic rendition of a defiling regiment. See Bergson I9071I9 I I , 3 29-3 I .
79? Hirth 1897, 364-65.
80. Junger is playing on the German Uhrziffern, which literally means "watch ciphers" and further implies that these ciphers are classified. -Trans.
81. Junger 1922, IOI.
82. SeeFussell1975,315. The"watch,worn. . . ontheinsideofhiswrist," by contrast, is "WW II style" (Pynchon 1973, 141).
8 3 . A reference to the 198 5 song "Tanz den Hitler / Tanz den Mussolini" by the German punk rock group DAF (Deutsch-Amerikanische Freundschaft [German-American friendship]). -Trans.
84. Foucault I9761I990, 56.
85. See Cagnetta 1981, 39.
86. See Farges 1975, 89.
87. Freud, Studies on Hysteria, 1 895, in idem I962, 2: 280.
88. Ibid. 89? Rank I9141I97I, 3-4. 90. Ibid. , 3. 91. See Kittler 1985, 129. 92. See Lichtbild-Buhne, 1926, quoted in Greve 1976, 326.
94? See Urban 1978, 30-38. 96. Ibid. , 2014.
98. Ibid. , 2013.
100. Ibid. , 2014.
berg I9I61I970, 15.
I09. Hennes 1909, 20II-I2.
IIO. See Lacan I9731I978, II3: "Let us go to the great hall of the Dages'
Palace in which are painted all kinds of battles, such as the battle of Lepanto, etc. The social function, which was already emerging at the religious level [of icons], is now becoming clear. Who comes here? Those who form what Retz calls 'les peuples,' the audiences. And what do the audiences see in these vast composi- tions? They see the gaze of those persons who, when the audiences are not there, deliberate in this hall. Behind their picture, it is their gaze that is there. "
III. Cocteau 1992, 39. II2. Bronnen 1927, 139-40.
II3. Nabokov I9261I970, 40. 114. See Lacan I9731I978, 209-13. II5? Pynchon 1973, 157?
I I6. Bronnen 1927, 3 5 . Elsewhere Fitzmaurice remarks: "Some people sup-
port themselves from the writing of books, namely, reviewers. By the way, I once saw a man who read a book; I will never forget that impression" (ibid. , 196).
93. See Schneider 1985, 89-94. 95. Hennes 1909, 201 3 .
97. Ibid. , 2012.
99. Ibid. , 20IO.
IOI. See Kaes 1979, 94.
I03. Ibid. , 62.
104. See Bourneville and Regnard 1 877-78, 2: 208-26.
I05 . See Clement 1975 .
I06. Freud, October 15, 1897, in idem 1985, 272.
I07. See Jentsch 1906, 198 .
I08. Bloem 1922, 57. On the use of puppets in film, see also H. Munster-
I02. Kracauer I9471I974, 67?
? Notes to Pages I5I-57 287
I I 7 . Kittler i s building on both the German word for literacy, Alpha- betismus, and Lacan's Alphabetise, a composite of the French alphabetisme (lit- eracy) and la betise (stupidity). The use of language, in effect, is a culturally in- stilled and mechanical exercise that perpetuates the illusion of an existent (fully present or coherent) soul. -Trans.
II8. Buchner 1842ir963, 129.
II9. See Kittler 1985, II8-24.
120. Cendrars 1926iI970, 207.
121. See Mallarme 1945, 880. "It is not a matter of distorting but of invent-
ing. The coach, with its team of horses, requires the inconvenience of a driver blocking the view: it is left to him, like an oven in front of a cook. Something en- tirely different will have to come about. A bow window, opening onto the space that one moves through magically, with nothing in front: the mechanic is placed in the rear, with his upper body above the roof, to steer like a helmsman. Thus the monster advances in an innovative fashion. This is the vision of a passing man of taste, putting things back in perspective. " On cars and moving cameras in gen- eral, see Virilio 1976, 25 1-57.
122. Schreber 1903ir973, 161.
123. Mach 1886ir914, 4n [trans. modified], from which follows: "The ego is as little absolutely permanent as are bodies. "
124. Freud, "The Uncanny" (1919), in idem 1962, I7: 248. Hauptmann's poem "1m Nachtzug" (In the Night train) casts such railroad doppelgangers in verse (Hauptmann 18881r962-74, 4: 54)?
125. Todorov I970ir973 , I61.
126. Ibid. , I68.
I27. Ibid. , 160.
1 2 8 . Behne, I9 26, in Kaes I983 , 220. For a similar comment, see Bloem
I922, 51.
129. Melies quoted in Toeplitz I973, 26.
I30. Ewers, October 8, 1912, quoted in Zglinicki, I956: 375.
131. See A. M. Meyer, I9I3, quoted in Greve et al. I976, III: "It was a
very real opening night. Many smokings. In the guest gallery one caught occa- sional glimpses of poets and their pretty female company. . . . Goethe, Chamisso, E. Th. A. Hoffmann, Alfred de Musset, Oscar Wilde were present as well.
Namely as godfathers of this 2,000-Mark film. "
I32. Haas, I922, on Hauptmann's film Phantom and in reference to The Student ofPrague, quoted in Greve et al. I976, I IO.
I33? Bronnen I927, I44?
I 34. Ewers quoted in Greve et al. I976, I IO.
I 3 5 . Bloem I922, 56.
I36. Der Kinematograph, advertisement (I929), reproduced in Greve et al.
I976, I27?
137. Benn, August 29, I935, in idem 1977-80, I: 63. Lindau, by the way,
was among the reading matter of Freud's youth.
I38. See the facsimile in Greve et al. 1976, lO8. I 39. Lindau 1906, 26.
140. Ibid. , 8.
? 288
Notes to Pages I57-67
I4L
142.
1 4 3 ?
144.
145.
146.
147?
149.
151?
1 5 2. For the precise phrases in Lindau 1906, 26-27, see Azam 1 893, and
See the analogous passage in Valery I944iI957-60, 2: 282-86. Schreber I903iI973, 86; see also Kittler I985ir990, 296-3? 4. Lindau 1906, 76.
Ibid. , 19?
Ibid. , 2L
Schreber I903iI973, 95; see also 208-IO.
Lindau 1906, 58. 148. Ibid. , 34-35; see also 57? Ibid. , 27. 150. Ibid. , 83.
Ibid. , 47.
Wagner I882iI986, 851-52, 854-55.
1 5 3 . Lindau 1906, 22.
154. Bergson I907iI9II, 306; see also 2-3.
155. Ibid. , 331-32.
156. H. Miinsterberg I9I6ir970, 26.
157. Ibid. , 30.
1 58 . See ibid. , 22, and, on the Miinsterberg-Lindsay connection, Monaco
I977, 298-30L
1 59.
160.
162.
164.
166.
168. Specht (1922, 212-13) calls Leutnant Gustl's inner monologue "fabu-
lous, stupendous, almost uncanny in its truth and power as well as in the vision of a writer who appears to be able to unlock the secret of every human soul"-sim- ply because in this monologue, "the film of words and the phonography of the soul are one and the same. "
169. Meyrink I9I5ir928, 22.
1 70. Ibid. , 5-7.
I7L Balazs 1930, 120. Meyrink, by contrast, knows that essences made of
associations result not from the spirit but from brain functions. Pernath, the pro- tagonist of the framed narrative that evolves as a flow of association or doppel- ganger of the framing I, follows all the patterns of psychophysics when he recog- nizes himself in a "cat gone mad" (eine Katze mit verletzter Gehirnhalfte; 49), and he follows all the patterns of aphasia research when he recognizes the Golem (the exponential doppelganger) precisely in that brain injury: "all these problems had suddenly achieved their terrible solution: I had been mad, and treated by hypnosis. They had locked up a room [the Golem's] that communicated with certain cham- bers in my brain; they had made me into an exile in the midst of the life that sur- rounded me" (Meyrink 191 5ir928, 5 I; see also 19, 21-22, 25-26). [Eine Katze mit verletzter Gehirnhalfte: lit. , "a cat with an injured brain hemisphere. "-Trans. ]
172. H. Miinsterberg I9I6iI970, 15.
173 . Hardenberg (Novalis) I 802ir964, 9 I . 1 74. Ibid? , 90-9L
175. Ibid. , 17.
H. Miinsterberg 1916/1970, 74.
? Ibid. Ibid. , 3 6. Ibid. , 40. Ibid. , 44.
16L Ibid. , 3 L
163 . Ibid. , 37-3 8 . 165. Ibid. , 4L
167. Balazs 1930, 5 L
? 1 7 6. 177. 178. 179? 180. 1 8 1 .
Notes to Pages I67-82 289
H. Munsterberg I9 I6ir970, 1 5 .
Freud, Interpretation ofDreams (1899), in idem 1962, 5: 536.
Lacan I975ir988a, 123.
Ibid. , 140, 125.
See Zglinicki 1956, 338.
See ibid. , 43-44. The parallel between Messter and Lacan was discov-
ered by Lorenz (1985, 209-II). 182. Lacan 1975, 76.
183. 1 84. 185. 186. 187. 188. 189. 190. 191. 192. 193. 194? 195. 196. 19 7.
198. Hesse I927ir957, 210-13.
See Lacan I975/I988a: 140-41.
See Lacan 1966, 680.
Edison, quoted in Monaco 1977, 56. Pinthus I914ir963, 9.
Ibid. , 9-10.
Bloem 1922, 36.
H. Munsterberg I9I6ir970, 87-88.
Balazs 1930, 142.
Pamphlet (1929), reproduced in Greve et al. 1976, 387. Bloem 1922, 25.
A. Braun, "H6rspiel" (1929), in Bredow 1950, 149. Bronnen 1927, 48.
Ibid. , 109.
Ibid. , II6.
Ibid. , 1 30-3 1 . Similar couplings linked gramophone and typewriter. Kracauer (I930ir97I-79, I: 228) describes an industrial training course using gramophone rhythms to make stenographers achieve record performances.
199. 200. 201. 202. 203. 204. 205. 206.
Mann, I928ir933 : 266.
For details, see Fischer and Kittler 1978, 29-37.
See Mann I924ir927, 108.
Ibid. , 801 .
See ibid. , 854-57.
See the brilliant analysis in Matt 1978, 82-100.
Goethe I809ir965-72, 2: 474.
Mann I924ir927, 401 . For an observant analysis of writing and media
in The Magic Mountain, see Kudszus 1974.
207? Mann I924ir927, 168-69.
208. Braune, 1929,inKaes 1983, 352-53. Thereverselinkoffilmandread-
ing has also been claimed, albeit with a dandy's flightiness. "She reads at such a pace," a queen complains about her reader in a novella, "and when I asked her where she had learnt to read so quickly she replied 'In the screens at Cinemas'" (Firbank 1923/1949, 128).
