The Haunted Screen: Expressionism in the German Cinema and by Lotte H. Eisner, Roger Greaves

By Lotte H. Eisner, Roger Greaves

The golden age of German cinema begun on the finish of the 1st global warfare and ended almost immediately after the arrival of sound. From The cupboard of Dr. Caligari onwards the significant motion pictures of this era have been characterised by way of impacts: literary Expressionism and the techniques of the theater administrators of this era, specifically Max Reinhardt. This ebook demonstrates the relationship among German Romanticism and the cinema via Expressionist writings.

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Extra info for The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt

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In the interiors, a tracery of Gothic ribs and ogives tran fornled into oblique setui-ellipses composes a fran1ework for the character. This gives stability to the fluctuating inten it y of the atmosphere, which is at tilues curiously ' hnpres ioni ti c' for this authentically 'Expressionistic' stru cture. W do find fron1. * 59 c he by H;lJl\ ri POcl71g" /e;;. d n th w h Ie, th white c nq ucred by the black he took Die hronik lIon talc by torm, a ani hp e ion) , u d in reating one of the ture th fi ling of fre h air and n [) the w di h cin rna.

One has to rC:11 cmb r that thecontelnporary prints, toned in brown, gn: 'n r ( or night cene) dark blue, were more subtle. p * Under Paul David h Union Film produ ced rem arka ble film s ; the A Nielsen fi lms were mad here. The company' a later bought up by De 1 Bioskop . -dllL'. olldOIJ and New York, 1')4<)· Of course the il1lages - by Guido Seeber, the best cameraman of his day - lack the quality and depth of foclls to which the German cinema of the twenties has accllst0111ed us: the real interiors filmed in the Lobkowitz palace See111 rather fiat.

But this The Co/elll (1920): rhe rabbi 's furnace r m calling til much-di ni t It d th by m f he Th a/em ar origin J * far thi r -bl \\. : tri ted th ugh \ c1cmcnt. ovement of a painting by E1 reco. The brio of these masses has nothing in COlumon w ith the m echanical use of extras found in Lubitsch, or the geometric groupings of crowds found in Fritz Lang. Th e shaping effect is particularly successful when the ornam ntal cleri ves from the natural, as in the high-angle shot of the thora-tabernacle bordered by the great sacred trumpets.

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