Download Expressionist Film -- New Perspectives (Studies in German by Dietrich Scheunemann PDF

Download Expressionist Film -- New Perspectives (Studies in German by Dietrich Scheunemann PDF

By Dietrich Scheunemann

This quantity of clean essays through top students develops a brand new method of expressionist movie. for almost part a century Siegfried Kracauer's From Caligari to Hitler and Lotte Eisner's The Haunted monitor have formed the knowledge of the cinema of this era. although, fifty years on, there's a transforming into know-how new account is late. This try and rewrite the tale of expressionist cinema starts with a essentially new interpretation of Dr. Caligari, and including clean perspectives of different expressionist classics, deals new views on vital substitute movie kinds and genres that emerged in motion pictures by way of such eminent administrators as Ernst Lubitsch, Joe may possibly, Fritz Lang, Karl Grune, F. W. Murnau, and E. A. Dupont. In pursuing such type, the booklet strives for an image of the cinema within the early years of Weimar that during thematic in addition to stylistic phrases displays the colourful, multifaceted cultural and political advancements of the interval. The e-book is a three way partnership of the Centre for eu movie experiences on the college of Edinburgh, the Institute for movie reports on the college of Mainz, and the German movie Museum in Frankfurt.

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Additional info for Expressionist Film -- New Perspectives (Studies in German Literature Linguistics and Culture)

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70 J. Barlow, German Expressionist Film, 146. 71 Helmut Weihsmann, “Baukunst und Filmarchitektur im Umfeld der filmischen Moderne,” in Die Perfektionierung des Scheins. Das Kino der Weimarer Republik im Kontext der Künste, ed. Harro Segeberg (Munich: Wilhelm Fink Verlag, 2000), 193 (trans. D. ). 72 Ibid. 73 L. H. Eisner, The Haunted Screen, 56–58. , 58f. 75 Seth L. Wolitz, “The Golem (1920): An Expressionist Treatment,” in Passion and Rebellion: The Expressionist Heritage, ed. : J. F. Bergin, 1983), 393.

It seemed to make the analysis of movies relevant to sociology and politics, providing furthermore evidence for the widely held belief that the cinema had played a significant part in Josef Goebbels’s propaganda machine during the Nazi years. In this sense, Kracauer merely added new cultural fieldwork to arguments also put forward by a number of similar works on the mass following of fascism written by German émigrés in the States, who had made the lower mid5 dle classes the subject of socio-psychological studies.

What the last grand manifestation of Kammerspielfilms, The Last Laugh, passed on to film productions of the later Weimar years as well as the studios of Hollywood, was neither its generic nor its fundamentally naturalist stylistic orientation, but a vastly extended and refined mode of handling the camera and lighting. Next to the exploration of the vast possibilities which the technical apparatuses of film production offered, it was above all the experiments of the avant-garde filmmakers leading to the discovery of montage as a genuine filmic technique which exercised a longer lasting impact on the direction and stylistic innovation of Weimar cinema and beyond.

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