Essay on German Expressionism in Film.
German expressionism was an early twentieth century German art movement that emphasized the artist's inner feelings or ideas over replicating reality, and was characterised by simplified shapes, bright colours and gestural marks or brushstrokes.
Nosferatu (1922) has made its mark on history, not only as the first vampire film, but also as a telling artifact from a turbulent socio-political time, a prominent example of the German Expressionism artistic movement, and an achievement in early filmmaking, especially for special effects. In order to understand the near decade of German Expression output, context must be laid for the.
An Analysis of German Expressionism in Relation to the Emerging Hollywood Style - Julia Deitermann - Seminar Paper - Film Science - Publish your bachelor's or master's thesis, dissertation, term paper or essay.
Excerpt from Term Paper: Expressionism and Fauvism Expressionism, which originated in Germany and Fauvism, which originated in France were fueled by artist's need for self-expression. These artistic movements make significant use of color, which is an important tool.
The year 1927 witnessed the alternation between German Expressionism and the New Objectivity. In describing the lives of workers in an underground city, Lang uses heavy shadow, tilt of the composition and exaggerated expressions and presents the workers as a living dead person muddling along without any aim with the expressionist style.
The German Expressionist movement was born out of the anguish following the Great War and before the birth of Hilter’s Germany. Perhaps, as suggested by James Franklin in “The Shadow in Early German Cinema”, shadows acted as a sort of “visual metaphor for evil or for the dark and threatening forces that allegedly lurked in the pre-Hitler German psyche or soul”.
They exemplified an abundance of experimentation and were regarded as “heralding the most promising development in German Cinema since German Expressionism.” (Cook and Bernink, 1999, p.69) While Cinema Verite was kicking against the documentarian establishment, the New German Cinema was refusing to be held prisoner by both the uneasy history of German film and the relatively recent Nazi.