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Seminar paper from the year 2004 in the subject Film Science, grade: A, San Diego State University, course: Film History & Aesthetics, language: English, abstract: In the first twenty years of film history, Hollywood had already conquered large parts of the world through the creation of artistic silent films. While American filmmakers, such as D. W. Griffith, focused on montage, continuity, and coherence as a means of narrating a story, thus making the narration more comprehensible and the characters more reliable, German filmmakers predominantly emphasized the mise-en-scène of the film when they created a new genre - the Expressionist film. In general, Expressionism is a term used for the distorted representation of reality which attempts to reveal an inner vision of the soul that is shaped by fear and wonder at the same time. The rise of German Expressionism after World War I can be traced back to a number of reasons. First of all, society was shattered by years of war and the rapid changes that had taken place in the last decade. The political system of the monarchy was abolished to pave the way for a parliamentary democracy. However, the Weimar Republic was politically instable, a revolution was put down and economy was not flourishing. The cultural movement of Expressionism represented all the changes in society, among them industrialization, the boom of radio and film, and Einstein’s and Freud’s revolutionary approaches to the world; all of which provoked the need of a new representation of reality. Moreover, people not only longed for entertainment and distraction in this insecure new world, but also did they inherit a new sense of “intellectual liberation” after censorship was ended and women were allowed to vote. Furthermore, the German film industry lacked film imports from other countries and decided to become involved in international film business itself, thus creating the large film company Ufa (Universum Film AG) that still exists today. Ufa produced films of various genres, but the most popular and influential in the world was to become the Expressionist film. Expressionism insofar forms a sharp contrast to Impressionism and Naturalism, as it does not attempt to depict momentary impressions of the world, nor does it aim at presenting the physical world as it is. On the contrary, it portrays an interpreted psychological and spiritual reality, thus revealing the underlying essence and meaning of things. As a result, reality can be seen as a creation of the mind, which calls for the viewer’s interpretation. [...]
An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.
Expressionism and Film, originally published in German in 1926, is not only a classic of film history, but also an important work from the early phase of modern media history. Written with analytical brilliance and historical vision by a well-known contemporary of the expressionist movement, it captures Expressionism at the time of its impending conclusion—as an intersection of world view, resoluteness of form, and medial transition. Though one of the most frequently-cited works of Weimar culture, Kurtz's groundbreaking work, which is on a par with Siegfried Kracauer's From Caligari to Hitler and Lotte Eisner's The Haunted Screen, has never been published in English. Its relevance and historical contexts are analyzed in a concise afterword by the Swiss scholars Christian Kiening and Ulrich Johannes Beil.
Ulrich Weisstein’s collection of 21 essays offers a comparative study of Expressionism as a Modernist movement whose dynamic core lay in Germany and Austria-Hungary, but which transformed artistic practices in other European countries. The focus, Weisstein argues, “must be strictly and sharply aimed at a specific body of works and opinions—a relatively dense core surrounded by a less clearly defined fringe zone—indigenous to the German speaking countries.” The volume spans an “Expressionist” period extending from roughly 1910 to 1925. Weisstein himself contributes two introductory chapters on problems of definition and a thoughtful analysis of English Vorticism. An ample context is set by comparative essays concerned with international movements such as Futurism that had an impact on German Expressionist drama, prose, and poetry, together with essays on the adaptation of Expressionist forms in countries such as Poland, Russia, Hungary, South Slavic nations and the United States. These essays call attention to representative authors and artists, as well as to periodicals and artistic circles. Reviewers have praised not only the presentation of “literary links and interaction” among national cultures, but especially the “most rewarding” interdisciplinary essays on Dada and on Expressionist painting, music, and film.
German Expressionist film had a massive impact on 20th century film-making and on pop culture generally. Packed full of facts and analysis, this text is an ideal starting place for anyone interested in this period of film history.
Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs an historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman's filmmaking history and profile-lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate upon their sanctioned practices and aims. We misunderstand Altman's work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.
Primitivism versus modernity: the expressionist dilemma - Politics of primitivism - Brucke bathers: back to nature - Max Pechstein's visionary ideas - Emil Nolded.
To continue doing business in Germany after Hitler's ascent to power, Hollywood studios agreed not to make films that attacked the Nazis or condemned Germany's persecution of Jews. Ben Urwand reveals this bargain for the first time—a "collaboration" (Zusammenarbeit) that drew in a cast of characters ranging from notorious German political leaders such as Goebbels to Hollywood icons such as Louis B. Mayer. At the center of Urwand's story is Hitler himself, who was obsessed with movies and recognized their power to shape public opinion. In December 1930, his Party rioted against the Berlin screening of All Quiet on the Western Front, which led to a chain of unfortunate events and decisions. Fearful of losing access to the German market, all of the Hollywood studios started making concessions to the German government, and when Hitler came to power in January 1933, the studios—many of which were headed by Jews—began dealing with his representatives directly. Urwand shows that the arrangement remained in place through the 1930s, as Hollywood studios met regularly with the German consul in Los Angeles and changed or canceled movies according to his wishes. Paramount and Fox invested profits made from the German market in German newsreels, while MGM financed the production of German armaments. Painstakingly marshaling previously unexamined archival evidence, The Collaboration raises the curtain on a hidden episode in Hollywood—and American—history.
Disc 1 offers 25 short 'tutorials,' helping students see what the text describes. Disc 2 includes an anthology of 12 short films, from 5 to 30 minutes in length. Together, the DVDs offer nearly five hours of pedagogically useful moving-image content.
Book on expressionism in German motion pictures.