The distinction between Lang's revealing camera and Feuillade's concealing one is such a sharp observation. That opening Mabuse sequence is basically Lang showing off how a director can control viewer information through editing rhythms, and the parallel to Mabuse's own control over technology and time is kinda perfect. I've always thought those repeated insert shots felt awkward, but framing them as early attempts to seperate message from medium makes way more sense than just calling it clumsy. Really digging this read of communication as the through-line across his work.