german expressionism 1919-1927

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COM 320—History of the Moving Image

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COM 320—History of the Moving Image. German expressionism 1919-1927. Defining Characteristics. - PowerPoint PPT Presentation

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Page 1: German expressionism 1919-1927

COM 320—History of the Moving Image

Page 2: German expressionism 1919-1927

Defining Characteristics

►”Goal to express feelings in the most direct and extreme fashion possible. . . extreme distortion to express an inner emotional reality rather than surface appearances”; S. S. Prawer (Caligari’s Children) raises the possibility that this distortion is quite “real”--e.g., Caligari sees aspects of the world not readily apparent to others.

The Cabinet of Dr. Caligari, Robert Wiene, 1919

Page 3: German expressionism 1919-1927

Form & Style:Mise en scene most important

Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)

The Cabinet of Dr. Caligari, Robert Wiene, 1919

Siegfried, Fritz Lang, 1924

Page 4: German expressionism 1919-1927

Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)

Distortion, stylization of sets, costumes, makeup, acting, lighting

The Cabinet of Dr. Caligari, Robert Wiene, 1919

Form & Style:Mise en scene most important

Page 5: German expressionism 1919-1927

Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)

Distortion, stylization of sets, costumes, makeup, acting, lighting

High contrast (in film, B&W; in the other arts, with colors)Nosferatu,

F. W. Murnau, 1922

Form & Style:Mise en scene most important

Page 6: German expressionism 1919-1927

High contrast (in film, B&W; in the other arts, with colors)

The Scream, Edvard Munch, 1893 (Norwegian)

Piggies, Franz Marc, 1912

Self Portrait with Hat, Karl Schmidt-Rottluff, 1919

Form & Style:Mise en scene most important

Page 7: German expressionism 1919-1927

Form & Style:Mise en scene most important Narrative structure—(a) legends, (b)

the supernatural, horror (but psychological)

Distortion, stylization of sets, costumes, makeup, acting, lighting

High contrast (in film, B&W; in the other arts, with colors)

Entirely studio-made (control!)

Page 8: German expressionism 1919-1927

Entirely studio-made (control!)

Siegfried, Fritz Lang, 1924

Page 9: German expressionism 1919-1927

Background

In a commercial film context Growth fostered by

inflation/reparations that favored export of products including film, import ban 1916-20

Artistically, part of movement begun about 1908

During the Weimar Period The origins of a national cinema--UFA

Page 10: German expressionism 1919-1927

UFA UFA = Universum Film AG (originally

Universum Film Aktiengesellschaft) Created by German government in 1917

as a WWI propaganda arm, by consolidating most of Germany‘s commercial studios

After a 1921 merger with Decla-Bioscop, "with government, industrial and banking support," UFA enjoyed a near-monopoly

Produced many great and influential works during the Weimar Republic years (1919-1933 approx.)

Through many incarnations, UFA still exists today

Background

Page 11: German expressionism 1919-1927

Other Film Types in that Nation at that Time Historical spectacles (e.g., Ernst

Lubitsch’s Madame du Barry)

Page 12: German expressionism 1919-1927

Other Film Types in that Nation at that Time Historical spectacles (e.g., Ernst

Lubitsch’s Madame du Barry) Kammerspiel (e.g., F. W. Murnau’s

Last Laugh)

Page 13: German expressionism 1919-1927

Importance of Movement

Widespread impact, due to Germany’s status as #2 filmmaking nation 1918-1933

Page 14: German expressionism 1919-1927

Important Practitioners

Robert Wiene (1873-1938) (Cabinet of Dr. Caligari, 1919)

Page 15: German expressionism 1919-1927

Important Practitioners

Robert Wiene (Cabinet of Dr. Caligari, 1919)

Fritz Lang (1890-1976) (Die Niebelungen, including Siegfried, 1923; Metropolis, 1927)

Page 16: German expressionism 1919-1927

Important Practitioners

Robert Wiene (Cabinet of Dr. Caligari, 1919)

Fritz Lang (Die Niebelungen, including Siegfried, 1923; Metropolis, 1927)

F. W. Murnau (1888-1931) (Nosferatu, 1922; Faust, 1926; Sunrise (U.S. release, 1927))

Page 17: German expressionism 1919-1927

The Death of the Movement Displaced artistically by new realism,

e.g., “street films” (G. W. Pabst)

Page 18: German expressionism 1919-1927

The Death of the Movement Displaced artistically by new realism, e.g.,

“street films” (G. W. Pabst) Prominent German Expressionist directors

and performers were lured away to Hollywood (including the 1925 Parufamet agreement. . . PAR – UFA – MET) G. W. Pabst F. W. Murnau Emil Jannings Fritz Lang (he ran, rather than being lured)

Page 19: German expressionism 1919-1927

Current Influences and Applications? The Style!

Most of Tim Burton’s films

The Crow, similar gothic-styled works

Page 20: German expressionism 1919-1927

Tim Burton images

Edward Scissorhands, 1990Batman Returns, 1992

Beetlejuice, 1988

Beetlejuice, 1988

Nightmare Before Christmas, 1993

Page 21: German expressionism 1919-1927

Tim Burton vs. German Expressionism

Edward Scissorhands, 1990

Batman Returns, 1992

Cabinet of Dr. Caligari, 1919

Cabinet of Dr. Caligari, 1919

Page 22: German expressionism 1919-1927

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