►”Goal to express feelings in the most direct and extreme fashion possible. . . extreme distortion to express an inner emotional reality rather than surface appearances”; S. S. Prawer (Caligari’s Children) raises the possibility that this distortion is quite “real”--e.g., Caligari sees aspects of the world not readily apparent to others.
►”Goal to express feelings in the most direct and extreme fashion possible. . . extreme distortion to express an inner emotional reality rather than surface appearances”; S. S. Prawer (Caligari’s Children) raises the possibility that this distortion is quite “real”--e.g., Caligari sees aspects of the world not readily apparent to others.
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Distortion, stylization of sets, costumes, makeup, acting, lighting
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Distortion, stylization of sets, costumes, makeup, acting, lighting
High contrast (in film, B&W; in the other arts, with colors)
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Narrative structure—(a) legends, (b) the supernatural, horror (but psychological)
Distortion, stylization of sets, costumes, makeup, acting, lighting
High contrast (in film, B&W; in the other arts, with colors)
Entirely studio-made (control!)
In a commercial film context
In a commercial film context
Growth fostered by inflation/reparations that favored export of products including film, import ban 1916-20
Artistically, part of movement begun about 1908
During the Weimar Period
The origins of a national cinema--UFA
UFA = Universum Film AG (originally Universum Film Aktiengesellschaft)
UFA = Universum Film AG (originally Universum Film Aktiengesellschaft)
Created by German government in 1917 as a WWI propaganda arm, by consolidating most of Germany‘s commercial studios
After a 1921 merger with Decla-Bioscop, "with government, industrial and banking support," UFA enjoyed a near-monopoly
Produced many great and influential works during the Weimar Republic years (1919-1933 approx.)
Through many incarnations, UFA still exists today
Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)
Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)
Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)
Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)
Kammerspiel (e.g., F. W. Murnau’s Last Laugh)
Widespread impact, due to Germany’s status as #2 filmmaking nation 1918-1933
Widespread impact, due to Germany’s status as #2 filmmaking nation 1918-1933
Robert Wiene (1873-1938) (Cabinet of Dr. Caligari, 1919)
Robert Wiene (1873-1938) (Cabinet of Dr. Caligari, 1919)
Robert Wiene (Cabinet of Dr. Caligari, 1919)
Robert Wiene (Cabinet of Dr. Caligari, 1919)
Fritz Lang (1890-1976) (Die Niebelungen, including Siegfried, 1923; Metropolis, 1927)
Robert Wiene (Cabinet of Dr. Caligari, 1919)
Robert Wiene (Cabinet of Dr. Caligari, 1919)
Fritz Lang (Die Niebelungen, including Siegfried, 1923; Metropolis, 1927)
F. W. Murnau (1888-1931) (Nosferatu, 1922; Faust, 1926; Sunrise (U.S. release, 1927))
Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)
Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)
Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)
Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)
Prominent German Expressionist directors and performers were lured away to Hollywood (including the 1925 Parufamet agreement. . . PAR – UFA – MET)
