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	German Expressionism - Wikipedia, the free encyclopedia
		The first Expressionist films, notably The Cabinet of Dr. Caligari (1920), The Golem (1915), and Nosferatu (1922) were highly symbolic and deliberately surrealistic portrayals of filmed stories.
		The plots and stories of the Expressionist films often dealt with madness, insanity, betrayal, and other "intellectual" topics (as opposed to standard action-adventure and romantic films); the German name for this type of storytelling was called kammerspielfilm.
		However, the themes of Expressionism were integrated into later films of the 1920s and 1930s, resulting in an artistic control over the placement of scenery, light, and shadow to enhance the mood of a film.
	en.wikipedia.org /wiki/Expressionism_(film) (878 words)

	- Shay's Spot: Writings - (Site not responding. Last check: 2007-10-31)
		The film was also entirely shot in a studio, not common at this time, so that all elements of environment and design could be under strict control.
		Other standout films of the genre were "Nosferatu", the classic vampire film (which interestingly was ordered to be destroyed due to copyright infringement on Bram Stoker's estate), and "Metropolis", with its lavish sets and huge cast.
		Film Noir is one such genre, which used lighting and design to set the mood of the film with great effect.
	milgram.tripod.com /works/gefilm1.html (1281 words)

	German Expressionism and Fritz Lang's Metropolis (Site not responding. Last check: 2007-10-31)
		The film itself is steeped in expressionist imagery which emphasizes the emotional quality of the plot that develops.
		As the film progresses, this theme of the dark, downtrodden workers being juxtaposed against the opulent upper class is incredibly important to the unfolding of the plot.
		Expressionists were concerned with the role of the city in a modern, industrialized world.
	wmbc.umbc.edu /~mark/artwork/art323/paper2.html (1418 words)

	German Expressionism (Site not responding. Last check: 2007-10-31)
		Later horror films, like those of Universal Studios in the 30's, 40's, and 50's, would concern themselves with grand themes of the battle between Good and Evil, and with the horror that comes when human beings move beyond the cosmic no-tresspassing signs.
		In Expressionist films, there is usually some kind of reconciliation, whether Nosferatu is destroyed, the workers freed, or a stake driven through the Vampyr's heart.
		Expressionist artistic conventions have gone on to influence horror culture ever since, including ample use in Universal's Son of Frankenstein, Orson Welles' and Tim Burton's pictures, and the Gothic subculture.
	silentmoviemonsters.tripod.com /germanexpressionism.html (727 words)

	Expressionist Film (Site not responding. Last check: 2007-10-31)
		The illusion is that their film world is unmanipulated, but even selectivity itself is a crafting of the art.
		Expressionists reject tradition and turn away from realistic representations of nature and accepted concepts of beauty.
		The desire of the Expressionist artist for self-knowledge and comprehension of the meaning of existence in its loneliness, horror, and threat of death can be compared to parallel trends among the Existentialists.
	www.wsu.edu /~delahoyd/20th/expressionistfilm.html (278 words)

	GreenCine \| German Expressionism
		The "Lubitsch Touch" lay in the way the films combined erotic comedy with the staging of historical showpieces (the French Revolution in Madame Dubarry), the mise-en-scène of crowds (the court of Henry VIII in Ann Boleyn), and the dramatic use of monumental architecture (as in his Egyptian and oriental films).
		The films cast a fascinated eye on modern technology and urban locations, on the mechanics of crime and detection, while the protagonists revel in disguise and transformation, motivating spectacular stunts, especially in frequent chase scenes.
		It is, instead, in direct correlation to the violent brushstrokes of Expressionist painting or the staccato utterances of Expressionist poetry, an outward interpretation of the extreme inner emotions felt in extreme situations - fear, anger, and occasionally, though rarely in the films at hand, joy.
	www.greencine.com /static/primers/expressionism1.jsp (3371 words)

	Film noir and the German-Hollywood Connection
		In film noir, events often occur in the dark of night, and the characters also tend to have their dark side.
		Despite many variations, most film noir heroes/villains are paranoid loners headed for some dark destiny, but who nevertheless manage to exchange a few snappy lines of dialog with the inevitable femme fatale along the way.
		Purists claim that “true” film noir can't be in color, which would exclude almost all of the neo-noir films from the 1960s to the present.
	www.germanhollywood.com /noir.html (1078 words)

	Untitled Document
		Notable as a prime example of the German Expressionist movement of the early twentieth century it also provides us with an early occurrence of what is now know as “intellectual property theft” as well as one of the most enduring and horrific presentations of the iconic Dracula character.
		Nosferatu is somewhat uncharacteristic of Expressionist film as it was shot primarily on location and is not inhabited by the sort of other-worldly scenery seen in films like Caligari, Metropolis, or Murnau’s later film, Faust.
		The terror and supernatural qualities of the film are embodied in the vampire figure himself, a horrifying, part corpse, part human rat figure with spidery talons that lurches from scene to scene.
	www.scarybodega.com /nosferatu/aboutthefilm.html (466 words)

	PennTags /chare
		The narrative of the film was based upon old Faust legends and literature such as Goethe’s Faust, however the first part concerning the relationship between Faust and Gretchen was the main focus of the film.
		Though Faust was a protagonist in Murnau’s film, he himself had lost control of his life, and was eventually stopped in the end by the execution of his lover and the intercession of the arch-angel.
		Though she typified the young “housewife”-like female in the beginning of the film, she drastically changes to the sexually liberated female typical of the 60’s at the very end of the film.
	tags.library.upenn.edu /chare (4728 words)

	"The Expressionist": Film Freak Central Interviews Director E. Elias Merhige
		The film is of a singular vision--narrative becomes inconsequential to the headlong rush of image, a fl wave of pins on a map sweeping to the point of climax making sense in a way that surpasses reason.
		FILM FREAK CENTRAL: The introduction of the Ben Kingsley character, the upside-down shot, elaborate on that.
		I refer to your film as a "metaphysical serial killer film," and by that I mean that it seems as though you're aspiring towards some kind of idea of sublimity.
	www.filmfreakcentral.net /notes/eemerhigeinterview.htm (2230 words)

	EXPRESSIONIST FILM (Site not responding. Last check: 2007-10-31)
		The Expressionist looks deeper than simple representation of reality; seeking to show the essence of something, a deeper meaning - in short - expression of self using the medium of art, film, music, drama and literature.
		Expressionist Film is considered the first manifestation of the Expressionism movement, since the film industry was booming at the time of its 'birth'.
		Expressionist became a genre, then, like many genre/s, became an influence through style on classic horror, film noir, sixties experimental (also drug affected), science fiction, contemporary film and of course music videos.
	www.mercedes.wa.edu.au /Media/12Tut_Expr.htm (339 words)

	"Expressionism and Caligarisme" by Bouton Jones
		He writes that the basic theatrical convention of these films which entailed filming a series of painted flats arranged perpendicular to the camera, left little to the initiative of the director and the cameraman on the set.
		Through a reduction of gesture they attain movements which are almost linear and which - despite a few curves that slip in - remain brusque, like the broken angles of the sets; and their movements from point to point never go beyond the limits of a given geometrical plane.
		It is proper to call the acting style of Caligarisme Expressionistic since this style is adapted from the expressionist stage in addition to traditional silent film mime.
	www.geocities.com /Hollywood/Studio/1689/expr_act.html (2443 words)

	HOARD MAGAZINE - FILM - OCTOBER 2001
		Nosferatu was to be the first film adaptation of Bram Stoker's novel Dracula, but Murnau had to change the name as he had not received the Stoker estate's permission nor paid royalties.
		Elias Merhige's recent film Shadow of the Vampire attempted to recreate the backdrop in the making of Nosferatu while mythologizing the relationship between director F.W. Murnau (John Malkovich, unfortunately being John Malkovich here) and the mysterious actor Max Schreck -- who, in the film, is actually a vampire himself.
		He is surely the only vampire in film history to look more like a (plague-carrying) rat -- or a bat -- than a human being, with his pointy ears, v-shaped chin, clawed nails, eager tongue and bulging eyes.
	www.hoardmag.com /halloween/Vampire.html (1148 words)

	Film 1 (Site not responding. Last check: 2007-10-31)
		The film, from this point on, recounts this story: A mysterious Dr. Caligari arrives in the town and sets up a show at a local fair.
		Meanwhile, Cesare abducts Jane (in one of the scarier scenes in the film) and flees from the townspeople, who are onto him.
		In Expressionism in painting and German Expressionist film, artists/directors presented distorted images of objects in order to portray emotions and psychological impulses.
	www.lclark.edu /~dahl/westernciv103/film1.html (549 words)

	German Expressionist Cinema 1919 - 1933
		The German Expressionist cinema from 1919 to 1933 was a new movie style that revealed a few widely regarded films.
		The Geman expressionist cinema from 1919 to 1933 released some very successful films that were able to compete with the American cinema.
		Though the expressionist movement died out in 1924 there had been a big influence on later films such as Metropolis (1926), M (1931) and Kameradschaft (1931) and on a trend in film style.
	home.nikocity.de /fabianweb/gerexp.html (936 words)

	The Cabinet Of Dr. Caligari
		In effect, the film is the first and without a doubt the last cinematic work of art that 80 years later still arouses the passion of critics and analyses of film and art enthusiasts.
		Obviously, the film, as each scene, can be viewed and reviewed from a different eye, as one looks at a painting from an aesthetic point of view as well as a symbolic one—here the symbols abound and each passage merits analysis.
		Finally, the film in a final, key scene brings ambiguity to the truth it just established, showing that madness is sometime closer to reality than one would at first allow.
	www.plume-noire.com /movies/cult/caligari.html (778 words)

	FilmFestivals.com - Cannes 2000
		Set in the early 1920s, the film centres on the shooting of FW Murnau's classic Expressionist horror film Nosferatu but with a twist.
		"I especially liked the fact that the film looks incredibly realistic to the point that you almost think you are watching an old documentary about a vampire.
		"There was a whole array of things that I wanted the film to say about cinema, theatre and the 20th century," he explains.
	www.filmfestivals.com /cannes_2000/parallel/directors_vampire.htm (363 words)

	Sorry, Wrong Number
		Based in instability, films of this cycle are inscribed with the mode of address of the woman's film, the visual style and detective structure common to film noir and an increasing sense of dread derived from the horror film.
		Gothic romance films distort conventional spatio-temporal relations by presenting the heroine's world as a kaleidoscopic collage of sights and sounds as the evil forces of the city converge on the unstable domestic space.
		Whilst the film is based on a radio play by Lucille Fletcher, Sorry, Wrong Number becomes specifically cinematic in its fragmentation of time and in its use of an autonomous camera (5).
	www.sensesofcinema.com /contents/cteq/05/37/sorry_wrong_number.html (1225 words)

	notcoming.com \| The Cabinet of Dr. Caligari
		Or, much later in the film, at the mental asylum, there’s the very effective composition of Francis in fl seated in the director’s room at the bottom centre of the frame, with the three doctors behind him, standing and all dressed in white.
		For them, the film’s basic premise — that the evil Dr. Caligari, who uses his fairground somnambulist Cesare to execute his murder schemes, is in fact the director of the local mental asylum — was a direct indictment of authoritarian figures in society.
		Then, although the Expressionist paintings have been very roughly removed from the walls of the asylum interior, the distorted angles of the doorways and windows are retained.
	www.notcoming.com /reviews.php?id=511 (1290 words)

	http://xft001/classes/intlfilm/germanexpressionism.htm
		The film has expressionist moments (and clearly many film scholars talk about it as a full-blown expressionist film), but these moments are contained by its larger narrative concerning the intimate life of its central character, a doorman at a hotel who is demoted to lavatory attendant.
		The film uses the long take and extended camera movements in such a provocative way, a way that was unheard of before the release of the film, and a way that was quickly imitated by countless Hollywood films.
		The film’s status as Kammerspiel can best be seen in the film’s original ending, in which the doorman is alone and isolated in the bathroom of the hotel, groveling in the corner like an animal.
	www.montana.edu /metz/website/intlfilm/germanexpressionism.htm (3475 words)

	German Cinema on Video: Resources for Collection Development and Scholarship
		DEFA makes up a significant segment of German film history, as the former UFA studios of Babelsberg aspired to the status of a national cinema in their own right.
		Spanning the periods from expressionism and film noir to postmodernism, with battles over new wave modernism, neo-realism and socialist realism in between, the history of DEFA is also a unique and refreshing window to everyday life in "really existing socialism" in East Germany.
		Inter Nationes offers a wide range of 16mm films and videos: feature films from 100 years of German film history, to current titles and documentary films reporting on cultural life in the Federal Republic of Germany.
	www.lib.berkeley.edu /MRC/germanfilmresources.html (1756 words)

	German Cinema: A Selected Bibliography of Materials in the UC Berkeley Libraries
		The formulations of Expressionist paintings, which fought against impressionistic superficiality and illuminated agitated inner worlds, were realized in German Expressionist films in which the heroes roam through a labyrinth of narrow alleys that can represent both a medieval city and a spiritual space that has become visible.
		Issues concerning the use of historical films to study society and values is discussed, with particular attention to the propaganda films made by the Nazis between 1933 and 1945.
		The film can be read as a close examination of an individual's narcissistic disorder and its origins and development in his family, with hints at such things as the narcissistic disturbances in other families.
	www.lib.berkeley.edu /MRC/Germanfilmbib.html (12696 words)

	Metroactive Movies \| San Francisco Film Festival
		With 185 films from 57 countries, the 42nd annual cinema extravaganza includes everything from earnest documentaries to glossy indies.
		There's Tyrene, an iron-willed woman who lives with her crack-head uncle and takes care of his two daughters; George, the one on whom a lot of hopes are hung because he has the makings of a professional fighter; and Noel, a smart but marginally motivated kid.
		Watching this remarkable film, we understand--and respect--Malli, a 19-year-old girl planning to strap a bomb to her waist at a reception for a powerful politician.
	www.metroactive.com /papers/metro/04.22.99/sffilmfest-9916.html (954 words)

	Horror Films
		It could be argued that the 'somnambulism' in the German expressionist film The Cabinet of Dr. Caligari (1919) was one of the earliest examples of a hypnotic, sleep-walking state similar to that exhibited by zombies.
		One of the better zombie films of the 40s was RKO director Jacques Tourneur's (and producer Val Lewton's) atmospheric, intelligent and spooky I Walked With A Zombie (1943), based loosely on the Jane Eyre novel.
		As the decade of the seventies progressed, the horror genre was subjected to violence, sadism, brutality, slasher films, victims of possession, and graphic blood-and-gore tales.
	www.filmsite.org /horrorfilms3.html (2159 words)

	Dr. Mabuse: The Gambler Movie Review at Hollywood Video
		In fact, since his first screen appearance in Lang's silent film, Dr. Mabuse has returned to wreak untold havoc in diabolical pursuit of world domination in several films, including two directed by Lang, The Testament of Dr. Mabuse (1932) and The 1,000 Eyes of Dr. Mabuse (1960).
		As Weimar Germany teeters on the brink of economic and social ruin—due in no small part to Dr. Mabuse—only State Attorney von Wenk (Bernhard Goetzke) dares to take on the criminal known as "The Great Unknown." The result is a deadly battle of wits between Mabuse and the one man he can't control.
		Kudos to Shepherd and film scholar David Kalat, whose illuminating commentary track provides a wealth of information on Lang, the director who would go on to helm such hard-boiled American crime dramas as You Only Live Once, and The Big Heat.
	www.hollywoodvideo.com /movies/movie.aspx?MID=6747 (703 words)

	Expressionist Film - New Perspective, 1571130683, £40.00/$70.00, 32 2003
		This volume of fresh essays by leading scholars develops a new approach to expressionist film.
		In pursuing such variety, the book strives for a picture of the cinema in the early years of Weimar that in thematic as well as stylistic terms reflects the vibrant, multifaceted cultural and political developments of the period.
		The book is a joint venture of the Centre for European Film Studies at the University of Edinburgh, the Institute for Film Studies at the University of Mainz, and the German Film Museum in Frankfurt.
	www.boydell.co.uk /71130683.HTM (522 words)

	The Cabinet of Dr. Caligari (Site not responding. Last check: 2007-10-31)
		The film begins with one poor fellow being told a tale of murder and intrigue by another fellow sitting on the same bench.
		As originally written, the film did not have this framing sequence in the asylum: Caligari is committed as an inamte of his own madhouse, and that is that.
		Clad in a fl body-stocking and made-up in fl and white face paint, he is quite literally the forefather of the Gothic subculture.
	silentmoviemonsters.tripod.com /caligari.html (503 words)

	Life, Liberty and The Pursuit of Happiness
		This film is about the erosion of reproductive rights in our country.
		This experimental film uses montage of found footage, animation and original footage to convey the web as the ultimate time machine.
		This film investigates Ethnic Integration at the culturally diverse collage: UC Berkeley.
	www.lifeliberty.net /filmography.html (333 words)

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