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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.
New essays by leading scholars giving a new picture of the variety of German expressionist cinema.
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 cinema of the 1920s is still regarded as one of the 'golden ages' of world cinema. Films such as The Cabinet of Dr Caligari, Dr Mabuse the Gambler, Nosferatu, Metropolis, Pandora's Box and The Blue Angel have long been canonised as classics, but they are also among the key films defining an image of Germany as a nation uneasy with itself. The work of directors like Fritz Lang, F.W. Murnau and G.W. Pabst, which having apparently announced the horrors of fascism, while testifying to the traumas of a defeated nation, still casts a long shadow over cinema in Germany, leaving film history and political history permanently intertwined. Weimar Cinema and After offers a fresh perspective on this most 'national' of national cinemas, re-evaluating the arguments which view genres and movements such as 'films of the fantastic', 'Nazi Cinema', 'film noir' and 'New German Cinema' as typically German contributions to twentieth century visual culture. Thomas Elsaesser questions conventional readings which link these genres to romanticism and expressionism, and offers new approaches to analysing the function of national cinema in an advanced 'culture industry' and in a Germany constantly reinventing itself both geographically and politically. Elsaesser argues that German cinema's significance lies less in its ability to promote democracy or predict fascism than in its contribution to the creation of a community sharing a 'historical imaginary' rather than a 'national identity'. In this respect, he argues, German cinema anticipated some of the problems facing contemporary nations in reconstituting their identities by means of media images, memory, and invented traditions.
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.
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.
The Golden Age of German cinema began at the end of the First World War and ended shortly after the coming of sound. From The Cabinet of Dr. Caligari onwards the principal films of this period were characterized by two influences: literary Expressionism, and the innovations of the theatre directors of this period, in particular Max Reinhardt. This book demonstrates the connection between German Romanticism and the cinema through Expressionist writings. It discusses the influence of the theatre: the handling of crowds; the use of different levels, and of selective lighting on a predominately dark stage; the reliance on formalized gesture; the innovation of the intimate theatre. Against this background the principal films of the period are examined in detail. The author explains the key critical concepts of the time, and surveys not only the work of the great directors, such as Fritz Lang and F. W. Murnau, but also the contribution of their writers, cameramen, and designers. As The Times Literary Supplement wrote, 'Mme. Eisner is first and foremost a film critic, and one of the best in the world. She has all the necessary gifts.' And it described the original French edition of this book as 'one of the very few classics of writing on the film and arguably the best book on the cinema yet written.'
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com Walt Disney's Snow White and the Seven Dwarfs (David Hand, 1937) occupies a central place within the history of global animation. Based on the German fairy tale by the Brothers Grimm, the film was the first feature-length animated film produced by the Disney Studio and served to announce the animated cartoon as an industrial art form. Yet Disney's landmark version not only set in motion the Golden Age of the Hollywood cartoon, but has continued to stand as an international sensation, prompting multiple revisions and remakes within a variety of national filmmaking contexts. This book explores the enduring qualities that have marked Snow White's influence and legacy, providing a collection of original chapters that reflect upon its pioneering use of technology and contributions to animation's visual style, the film's reception within an American context, and its status as a global cultural phenomenon.