German Expressionism (cinema) (German: Deutscher Expressionismus) consisted of a number of related creative movements in Germany before the First World War that reached a peak in Berlin during the 1920s.
- The Student of Prague
The Student of Prague (German: Der Student von Prag, also...
- History
Among the first Expressionist films, The Student of Prague,...
- Influence and legacy
The German silent cinema was arguably far ahead of Hollywood...
- Distorted imagery
Many critics see a direct tie between cinema and...
- Interpretation
The two most comprehensive studies of German Expressionist...
- The Student of Prague
Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
- Predominantly Germany, but also in Austria, France, and Russia
- American Figurative Expressionism, generally, and Boston Expressionism, in particular
- The years before WWI and the interwar years
- Artists loosely categorized within such groups as Die Brücke, Der Blaue Reiter; the Berlin Secession and the Dresden Secession
- Parsing Problem
- Westfront 1918
- I Notice
- Title
- What Is German Expressionism?
- "German Cinema Was Arguably Far Ahead of Cinema in Hollywood"
- Followup
- Expressionist Directors Who Went to Hollywood?
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I haven't been able to parse "The German Expressionist movement was largely expanded down to the isolation Germany was in during World War I." The "was largely expanded down to" seems to be the problem. Can the author rephrase this sentence? Thanks. Knowthhill (talk) 04:30, 2 February 2012 (UTC)
Would this count as a German expressionist film? Thanks —Preceding unsigned comment added by 80.229.224.133 (talk) 22:10, 20 November 2010 (UTC) 1. 1.1. It would appear not, although it is clearly related. 1) It was produced in 1930. 2) It deals with World War I. 3) The article identifies the author's perspective as "New Objectivity". I'm going to add a "Related" link at the bottom, but if there is objection from those more expert on the topic than I, just remove it. Ralohmann (talk) 14:55, 24 September 2015 (UTC)
I notice that this page is virtually a copy of Expressionism (film), other than the photo that was added later. I believe that one of these needs to go and be turned into a redirect... though I'm not sure of the procedure for merging them. RcktScientistX23:11, 8 Oct 2004 (UTC) 1. Merging is done with {{merge}} and {{mergefrom}} - UtherSRG19:37, Feb 1, 2005 (UTC) do not merge the articles, i teach a film class, they are two seperate ideas. One was developed in America and the other in Germany. They should be kept seperate eventhough the ideas are seperate. 1. I disagree with the above poster. Unless they are modified, they should be merged. They are virtually identical. I see very little difference in the other article. If you wish to make is seperate, please as to edit the other article to actually make it different. Claude.Xanadu04:22, 22 February 2006 (UTC) 1. I oppose merging the articles. German Expressionism is a distinct and important period in German film. It's logical that t...
This page should be retitled either "German Expressionism (film)" or "German Expressionist Cinema". German Expressionism was a much wider artistic movement, covering painting (Grosz, Dix and so on), poetry (Georg Heym, Trakl, Gottfried Benn), theatre (Toller, early Brecht) and music (Schoenberg, Berg) as well as other art forms. The main page "German Expressionism" should reflect that.--Folantin12:21, 12 October 2006 (UTC) Agreed - Expressionist film really came at the tail end of the overall German Expressionist movement. The Expressionist poets, painters, playwrights and directors, had an unfortunate tendency to get killed in the first world war; those that came back alive had a much more cynical style more like Dada.-- Mark, 12 October 2006 This is a good and important point. The term "German Expressionism" is used in respect of a number of loosely connected movements in literary and visual arts - even architecture - and not just in film. Not only does the name of this article ne...
The introduction notes when it started and who contributed to it, but it never mentions what German expressionism is. Sure it says filmmakers "developed their own style by using symbolism and mise en scène to add mood and deeper meaning to a movie," but I doubt these aspects are unique to German expressionism. The first section after the introduction contains some aspects of 1920s-1930s German Expressionism, but are these qualities shared by all films in this category? —Preceding unsigned comment added by 128.61.115.185 (talk) 06:09, 5 January 2008 (UTC) 1. I have tried to develop the article to include the forms other than film to which the term applies. The geographic spread of the artists included in Expressionism, and the large number of German (and American) artists included suggests a need for a nationally based series of articles. Philip Cross (talk) 23:12, 29 July 2008 (UTC) 1.1. Hi, Phil. I think i like the direction you're going, tho i was initially quite shocked that your...
I know the qualifying word is "arguably", but on a site like Wikipedia it's usually a way of saying "it is better" without stirring the pot. This is a ridiculous statement for one big reason: "German Expressionism" doesn't remotely encapsulate everything about cinema in the 1920s. The Soviets were doing things the Germans weren't doing just as the Americans were doing things the Soviets were not. F.W. Murnau dropped the more obvious trappings of German Expressionism for a subtler cinematic expressionism/modernism and embraced montage and classical Hollywood form in his last films, the superb City Girl and the final masterpiece Tabu (even in his German period he wasn't nearly as ubiquitous with German Expressionism as he's always made out to be - this is true of German cinema in general.) His American students, particularly King Vidor and John Ford, and other contemporary filmmakers from around the world such as Jean Renoir, would continue on in this manner. The impact of the German...
It appears that a variety of very good suggestions have been made here over the last 10 years, but there has been little followup. It appears that most of these can be accommodated fairly easily, so I'm going to try to deal with at least some of them, and I hope that others will keep an eye on these changes and comment or re-revise as necessary. Ralohmann (talk) 14:04, 24 September 2015 (UTC) 1. Indeed, I look forward to your proposed changes. The title MUST be changed to something like "German Expressionism (film)," "German Expressionist film" or "German Expressionism in film" -- whatever accords best to the Wiki directives on titling. I was stunned this morning hoping to find a Wiki on the history of German Expressionism in the arts -- painting, printmaking and sculpture -- and instead found this. German Expressionism was a major art movement that emerged around 1905 and continued until the National Socialists condemned much of it as 'degenerate' around 1936-38. By that time, it h...
The article says "a number" of expressionist directors went to Hollywood but no names are mentioned. Could someone expand on this point? Ralohmann (talk) 15:37, 24 September 2015 (UTC)
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I came across some useful sources while editing Faust (1926 film)#Reception. You may be interested in the 7 "canonical" expressionist films. Anonymous-232 (talk) 06:00, 6 July 2020 (UTC)
The term Brick Expressionism (German: Backsteinexpressionismus) describes a specific variant of Expressionist architecture that uses bricks, tiles or clinker bricks as the main visible building material. Buildings in the style were erected mostly in the 1920s, primarily in Germany and the Netherlands, where the style was created.
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- History
- Distorted Imagery
- Interpretation
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Among the first Expressionist films, The Student of Prague (1913), The Cabinet of Dr. Caligari (1920), From Morn to Midnight (1920), The Golem: How He Came into the World (1920), Destiny (1921), Nosferatu (1922), Phantom (1922), and Schatten(1923) were highly symbolic and stylized. The German Expressionist movement was initially confined to Germany due to the isolation the country experienced during World War I. In 1916, the government had banned foreign films. The demand from theaters to generate films led to an increase in domestic film production from 24 films in 1914 to 130 films in 1918. With inflation also on the rise, Germans were attending films more freely because they knew that their money's value was constantly diminishing. Besides the films' popularity within Germany, by 1922 the international audience had begun to appreciate German cinema, in part due to a decreasing anti-German sentiment following t...
Many critics see a direct tie between cinema and architecture of the time, stating that the sets and scene artwork of Expressionist films often reveal buildings of sharp angles, great heights, and crowded environments, such as the frequently shown Tower of Babel in Fritz Lang's Metropolis. Strong elements of monumentalism and Modernism appear throughout the canon of German Expressionism. An excellent example of this is Metropolis, as evidenced by the enormous power plant and glimpses of the massive yet pristine "upper" city. German Expressionist painters rejected the naturalisticdepiction of objective reality, often portraying distorted figures, buildings, and landscapes in a disorienting manner that disregarded the conventions of perspective and proportion. This approach, combined with jagged, stylized shapes and harsh, unnatural colors, were used to convey subjective emotions. A number of ar...
The two most comprehensive studies of German Expressionist film are Lotte Eisner's The Haunted Screen and Siegfried Kracauer's From Caligari to Hitler. Kracauer examines German cinema from the Silent/Golden Era to support the (controversial) conclusion that German films made prior to Hitler's takeover and the rise of the Third Reich all hint at the inevitability of Nazi Germany. For Eisner, similarly, German Expressionist cinema is a visual manifestation of Romantic ideals turned to dark and proto-totalitarian ends. More recent German Expressionist scholars examine historical elements influencing German Expressionism, such as the Weimar economy, UFA, Erich Pommer, Nordisk, and Hollywood.
For examples of highly acclaimed and, in some cases, little seen film made in the German Expressionist style, see the: 1. Austrian film director G.W. Pabst's 1930 film Westfront 1918 2. Polish-made 1937 Yiddish-language The Dybbuk (film)and 3. American thriller The Night of the Hunter (film), made in 1955 For more on German Expressionism's most singularly important producer and director, see Leopold Jessner (1878-1945). For more on the period's most important production company and distributor, see Universum Film AG, popularly known as UFA.
German Expressionist Films at the Internet ArchiveFrom Wikipedia, the free encyclopedia Wikimedia Commons has media related to Expressionist painters from Germany. Pages in category "German Expressionist painters" The following 75 pages are in this category, out of 75 total.
Dec 28, 2020 · From Wikipedia, The Free Encyclopedia German Expressionism (German : Deutscher Expressionismus) consisted of a number of related creative movements in Germany before the First World War that reached a peak in Berlin during the 1920s.
Expressionism as The Radical Creative Tendency in Architecture. Arhitektura i urbanizam, no.34: 14–27. Pranala luar. GreenCine primer on German Expressionism; German Expressionist Cinema at Indian Auteur Diarsipkan 2016-03-03 di Wayback Machine. Online Films
In German literature: Expressionism German Modernism emerged from turn-of-the-century Aestheticism. Like European Modernism as a whole, German Modernism was in fact a cluster of different literary movements, including Expressionism, Neue Sachlichkeit (“New Objectivity”), and Dada. Of these, Expressionism is the best known and most important.
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