1. German expressionism 1919-1927
COM 320—History of Film
German expressionism

2. Defining Characteristics
►”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.
The Cabinet of Dr. Caligari,
Robert Wiene, 1919

3. Form & Style: Mise en scene most important
Narrative structure
(a) legends
(b) the supernatural, horror (but psychological)
Siegfried, Fritz Lang, 1924
The Cabinet of Dr. Caligari,
Robert Wiene, 1919

4. Form & Style: Mise en scene most important
Distortion, stylization of sets, costumes, makeup, acting, lighting
The Cabinet of Dr. Caligari,
Robert Wiene, 1919

5. Form & Style: Mise en scene most important
High contrast (in film, B&W; in the other arts, with colors)
Nosferatu,
F. W. Murnau, 1922

6. High contrast (in film, B&W; in the other arts, with colors)
Form & Style: Mise en scene most important
High contrast (in film, B&W; in the other arts, with colors)
The Scream,
Edvard Munch, 1893
(Norwegian)
Piggies,
Franz Marc, 1912
Self Portrait with Hat,
Karl Schmidt-Rottluff, 1919

7. Form & Style: Mise en scene most important
Entirely studio-made (control!)
Siegfried, Fritz Lang, 1924

8. Background In a commercial film context
Growth fostered by inflation/reparations that favored export of products including film, import ban
Artistically, part of movement begun about 1908
During the Weimar Period
The origins of a national cinema--UFA

9. Background
UFA
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 ( approx.)
Through many incarnations, UFA still exists today

10. Other Film Types in that Nation at that Time
Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)

11. Other Film Types in that Nation at that Time
Kammerspiel (e.g., F. W. Murnau’s Last Laugh)

12. Importance of Movement
Widespread impact, due to Germany’s status as #2 filmmaking nation

13. Important Practitioners
Robert Wiene ( ) (Cabinet of Dr. Caligari, 1919)

14. Important Practitioners
Fritz Lang ( ) (Die Niebelungen, including Siegfried, 1924; Metropolis, 1927)

15. Important Practitioners
F. W. Murnau ( ) (Nosferatu, 1922; Faust, 1926; Sunrise (U.S. release, 1927))

16. The Death of the Movement
Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)

17. The Death of the Movement
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)
G. W. Pabst
F. W. Murnau
Emil Jannings
Fritz Lang (he ran, rather than being lured)

18. Current Influences and Applications?
The Style!
Most of Tim Burton’s films
The Crow, similar gothic-styled works

19. Tim Burton images Batman Returns, 1992 Edward Scissorhands, 1990
Beetlejuice, 1988
Beetlejuice, 1988
Nightmare Before Christmas, 1993

20. Tim Burton vs. German Expressionism
Cabinet of Dr. Caligari, 1919
Edward Scissorhands, 1990
Batman Returns, 1992
Cabinet of Dr. Caligari, 1919

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