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Critical research paper german expressionism
Bauhaus expressionism
Essay of German expressionism
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When a large population is facing hardships, it is not uncommon to see people turn to art in order to heal. For the post-World War I population of Germany, who were facing severe poverty and humiliation, their healing came in the form of the German Expressionism movement. After so many German citizens who served and/or died in the war, pacifism and a general distrust of authority were on the rise. With this passion, German Expressionism turned the German film industry into a powerhouse. Overzealous and theatrical films became popular, especially those with extreme and anti-realistic styles. One of the first and most popular German Expressionist films was the film The Cabinet of Dr. Caligari. Here, we follow the main character Francis through …show more content…
Caligari to the evil enemy of Gotham, The Penguin, there are many similarities between the two characters. Trench coats, top hats, and canes seem to be the clothing of choice by villains in movies, which subconsciously the audience may be aware of, so there is an association of “evil” when characters are dressed as such. Consequently, the viewer then subconsciously distrusts Dr. Caligari as an authority figure. Hair is also a shared trait of both villains, particularly crazy and puffed out strands. In the case of Dr. Caligari, his crazy hair also sets him up to look like mad scientists like Dr. Emmett Brown from Back to the Future or Rotwang from Metropolis. Admittedly, many of these characters didn’t exist at the time Caligari was made, but Dr. Caligari could definitely have inspired these characters, which is why The Cabinet of Dr. Caligari is extremely important in film history.
Contrasting the fancy villain get-up that Dr. Caligari is sporting, Cesare has a very shapeless, but interesting, leotard as his choice of clothes. As a result of putting him in a leotard, Cesare has a bizarre and inhuman way of moving which adds to his creep-factor. Further, this lack of individualization by simple clothing can further symbolize Cesare as a puppet to
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press: Princeton and Oxford, 2004.
In the Early years of film one can easily say that Germany lead the way in experimentation, with such striking examples as Dr. Caligari, Nosferatu and Dr. Mabuse the Gambler. How when looking at two of these film, Nosferatu and Dr Mabuse the Gambler one can find a similar theme that run throughout. This theme is that of Weimar’s insecurity about outsiders and otherness different cultures. While both films have different stories at their very simplest both films see someone come into the idyllic lives of the protagonist not only wrecking their lives but the lives of ordinary people as well. It’s worth noting that borth Nosferatu and Dr. Mabuse the Gambler were filmed in the turbulent early 20’s of the Weimar period where Germany was still dealing with the aftermath of the war and outside powers such as France encroaching on German territory and at the same time political unrest had reached its high. With all these changes going on it easy to see why Germany might have felt that outsider were at work trying to remold modern Germany. This is why in these turbulent early years befor the Weimar Golden age we see such strong use of the other/outsider as a stand in for events taken place in Germany
German cinema was greatly affected during the Nazi movement between 1933 and 1945. Once appointed Chancellor of Germany on January 30, 1933 Hitler wasted no time and almost immediately began working on his propaganda strategy. Typically “propaganda targets a mass audience and relies on mass media to persuade. Propaganda is aimed at large numbers of people and, as such, relies on mass communication to reach its audience” (Gass, 14). The Nazi party used film propaganda to brainwash the German people, distract them from the harsh reality of the Nazi party, and attempt to intimidate the enemy. Hitler knew propaganda entailed mass persuasion and he knew just how to get his message out there; film. It was through the use of propaganda, largely film that made the Nazi party so powerful as they redefined propaganda.
Just as German language literature addressed the topic of German-Jewish relationship, German cinema was not far behind. In Films such as Joseph Vilsmaier’s Comedian Harmonists (1997), Max Färberböck’s Aimée und Jaguar (1999), and Margarethe von Trotta’s Rosenstrasse (2003), we witness German-Jewish relationship, how gender plays a role in mix, and who is portrayed as victim.
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The Cabinet of Dr. Caligari is a 1920’s German silent-horror film. Robert Weine, the director, collaborated with the German cinematographer, Willy Hameister to create this German Expressionist masterpiece. The idea was taken from the screenplay written by Hans Janowitz and Carl Meyer. It is also considered one of the greatest horror films during the silent period. The Cabinet of Dr. Caligari and its historical context in terms of the German Expressionist movement will be discussed further in the essay.
Society tends to associate propaganda films with issues such as Nazi Germany and their film messages for their country; however, it is also possible for small independent companies, groups of like-minded people and individuals to use the media of film to incorporate messages for our society (The Independent, 2010). These messages are often in relation to changes that individuals should make in order to improve the standards by which they live their lives and changes to everyday habits that will benefit the individual, the individual’s family, a group of individuals or even a single person (Barnhisel and Turner, 2010).
Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation of one’s self.
Caligula was born as Gaius Augustus Germanicus, on August 31st, 12 CE, to Germanicus and Agrippina “The Elder”. Although, as a child, he strutted around in pint-sized caligae (Roman soldiers’ footwear), because even then - parents enjoyed draping their progeny in their lineal attire. He wore his getup while accompanying his father, Germanicus, on campaign. Shortly thereafter, Germanicus’ troops referred to the little rascal as Caligula, meaning “little boots”, and it stuck – even in spite of Gaius’ supposed discontent with the name.
When audiences think of Lang's Metropolis they almost unanimously think of the same image: that of a golden, mechanical being brought to life. It is one of the most recognizable images in German expressionist cinema, on par with the spidery shadow of Max Schrek's Nosferatu creeping up the stairs in Murnau's vampire film, or that of Cesare the somnambulist sleeping upright in Weine's The Cabinet of Dr. Caligari, yet what separates this i...
The economic recovery, West Germany experienced in the mid-1950s, enabled its film industry to produce more domestic film outputs as it continuously featured American films, which enjoyed great commercial success during the period. The domineering control of the US over the distribution of American films in West Germany prompted the West German government to render support to domestic filmmakers – a move supported by the growing economy of the nation at that time. Although West German films did not fare well commercially in the domestic market due to the continued dominance of American films in West Germany, international success did follow through the international acclaim of domestic filmmakers, many of them having gained working experience in Hollywood. The emergence of New German Cinema in 1962, through the Oberhausen Manifesto, was characterized by support coming from the West German government, the economic resurgence of the nation and the shift from nonpolitical and positive themes that somewhat denies the sordid political mishaps of Germany prior and during the Second World War, to highly political features that addressed pre and post-Second World War issues critically.... ... middle of paper ...
Four pictures taken from different productions and different collections of The Tempest illustrate how diverse Caliban is. Each one has a unique view of who or, more precisely, what Caliban is. They progress in an order, from pure beast, through something less to someone almost resembling a man. The pictures lead us on a progression from something entirely bestial to something else entirely.
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.