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Covering classic films such as 'The Cabinet of Doctor Caligari' and 'Nosferatu' as well as under-appreciated examples such as 'Asphalt', this volume forms an essential introduction to one of cinema's most historically important movements.
Beginning with a fundamentally new interpretation of 'Dr. Caligari', and with fresh views of other expressionist classics, this book offers new perspectives on important alternative styles and genres that emerged in films by such eminent directors as Lubitsch, Fritz Lang and E.A. Dupont.
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.
One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), and also provide original critical research into more obscure titles like Nerven (1919) and The Phantom Carriage (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico.An innovative and wide-ranging collection, Expressionism in the Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.
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.
Book on expressionism in German motion pictures.
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.
New essays examining the complex period of rich artistic ferment that was German literary Expressionism.
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. [...]