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Introduction Rise of the German Film Industry A brief intro to the start of german

expressionism Principle directors of the Movement What makes German Expressionism Unique The End of the Movement It’s Influences to Hollywood, Specifically Film

Noir and American Crime Thrillers.

Content

There are a lot of crime shows nowadays that

we would be able to say, comes from the ideology, or even only the Mise-en-scene of German expressionism. Which would be one of the main traits that MAKES German Expressionism unique.

Introduction

Shows such as Hannibal (Ridley Scott) or CSI: Crime Scene Investigation which focus mostly on reading the minds and psyche of criminals and madmen, and their view to the world, showing off a dark and Nightmarish theme, make fine examples of German Expressionisms influence within Hollywood.

1920-1933: Flourishing of The Expressionist

Movement 1916: Gov’t Banned most of Foreign Films

locally 1918: 130 local Film production companies 1921: 300 local Film production companies

Rise of the German Film Expressionism

German Gov’t gave Full support to the Local

Film Producers during the Weimar Period Post War period of Germany Germany sold Films cheaply abroad and

imported less foreign films

Late February, 1920: The Cabinet of Dr.

Caligari Originally was supposed to be Directed by Fritz

Lang. Became the Template of Local Directors for

Expressionist Films. Proved to still be the most prominent German

Expressionist Film until the End of the Movement.

Beginning of the Movement

Robert Weine: The Cabinet of Dr. Caligari (1920) Raskolnikow (1923) The Hands of Oralc (1924)

F.W. Murnau : Nosferatu (1922) Tartuffe (1925) Faust (1926)

Fritz Lang: The Weary Death aka Destiny (1921) Dr. Mabuse the Gambler (1922) Kriemhild’s Revenge (1924) Metropolis (1927)

Prominent Directors of the Movement:

February, 1920: Decla Company releases The Cabinet of Dr. Caligari,

directed by Robert Weine, marking the beginning of the German Expressionist Movement in Film.

Spring, 1920: Decla and Deutsche-Bioscop merged to form Decla-Bioscop; under the Erich Pommer’s supervision.

November, 1921: UFA absorbs Decla-Bioscop, still under Pommer as a separate production unit.

Autumn, 1924: Hyperinflation ends.

December, 1925: UFA is rescued from bankruptcy by loans from Paramount and MGM.

February, 1926: Pommer is forced to resign as the head of UFA.

January, 1927: Metropolis, Fritz Lang.

Important dates to take note of during the movement

Offers nightmarish dark realms.

What makes German Expressionism Unique?

Plays with the Mise-en-scene: Lighting Staged and stylized sets Exaggerated surrealist settings Jerky/Dance-like Movements of the actors

1920-1924 Amount and quality of German

Expressionist Films were intense. January 1927: Marked the end of German

expressionism movement.

The end of the Movement

Excessive budgets of the later films Low number of German Expressionist Film makers

that are still interested in the style. Departure of Expressionist Film makers into

Hollywood. Restructuring of the UFA (Universum Film

Aktiengesellschaft). Resulting in Pommers departure for Hollywood

Film makers could no longer have exceeded budgets from the Gov’t to produce Films

Reasons for the decline of the movement

Film Noir: Classical Crime Dramas of Hollywood Use of lighting, and prominent use of shadows. Use of Low-angle, Wide-angle, Skewed/Dutch Shots

(sometimes through distorted objects such as mirrors). Setting and narrative form of the story, being dark, and

corrupt.

Influences in Hollywood

The Woman in the Window The Blue Gardenia Scarlet Street The Big Heat The Secret Beyond the Door Beyond a Reasonable Doubt

Film ExamplesFritz Lang

German Expressionism, although indirect, still

influences modern day films, in terms of the use of their narratives, themes, camera angles, etc.

Conclusion

Thompson, K. & Bordwell, D. (2009) Film

History: an Introduction. 3rd edition. New York: McGraw Hill Higher Education.

Rausch, A.J. (2004) Turning Points in Film History. Illustrated. New York: Citadel Press.

Brockmann, S. (2010) A Critical History of German Film: Volume 93 of Studies in German Literature, Linguistics and Culture. Illustrated. New York: Camden House.

Bibliography