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  1. German Expressionism (cinema) - Wikipedia

    en.wikipedia.org › wiki › German_Expressionism

    German Expressionism consisted of a number of related creative movements in Germany before the First World War that reached a peak in Berlin during the 1920s. These developments in Germany were part of a larger Expressionist movement in north and central European culture in fields such as architecture, dance, painting, sculpture and cinema. This article deals primarily with developments in German Expressionist cinema before and immediately after World War I, approximately from 1910 to the 1930s.

    • 1910s–1930s
    • WWI's traumatic aftermath and the slowly dread-inducing Weimar Republic
  2. Expressionism - Wikipedia

    en.wikipedia.org › wiki › Expressionism

    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. Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. Expressionism developed as an avant-garde style before the First World War. It remai

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  4. Talk:German Expressionism (cinema) - Wikipedia

    en.wikipedia.org › wiki › Talk:German_Expressionism
    • 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?
    • External Links Modified
    • Useful Sources

    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)

    Hello fellow Wikipedians, I have just modified one external link on German Expressionism. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQfor additional information. I made the following changes: 1. Added archive https://web.archive.org/web/20051229032301/http://www.greencine.com/static/primers/expressionism1.jsp to http://www.greencine.com/static/primers/expressionism1.jsp 2. Added {{dead link}} tag to http://www.leicester.gov.uk/your-council--services/lc/leicester-city-museums/exhibitions/german-expressionist When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs. As of February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive...

    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)

  5. German Expressionism (cinema) — Wikipedia Republished // WIKI 2

    wiki2.org › en › German_Expressionism_(cinema)
    • History
    • Distorted Imagery
    • Interpretation
    • See Also
    • External Links

    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.

  6. Category:German Expressionist painters - Wikipedia

    en.wikipedia.org › wiki › Category:German

    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.

  7. Degenerate art - Wikipedia

    en.wikipedia.org › wiki › Degenerate_art

    Degenerate art (German: Entartete Kunst) was a term adopted in the 1920s by the Nazi Party in Germany to describe modern art.During the dictatorship of Adolf Hitler, German modernist art, including many works of internationally renowned artists, was removed from state-owned museums and banned in Nazi Germany on the grounds that such art was an "insult to German feeling", un-German, Jewish, or ...

  8. German Expressionism and similar topics | Frankensaurus.com

    frankensaurus.com › German_Expressionism

    Topics similar to or like. German Expressionism. German Expressionism consisted of a number of related creative movements in Germany before the First World War that reached a peak in Berlin during the 1920s. Wikipedia. Movement in German art that arose during the 1920s as a reaction against expressionism.

  9. German Expressionism Art Movement

    www.visual-arts-cork.com › german-expressionism
    • Influences
    • Organizations
    • Formation
    • Background

    Influenced by Van Gogh, Edvard Munch, Fauvism- the Post-Impressionist colourist school led by Henri Matisse (1869-1954) - and the emotive wood carving of the sculptor Ernst Barlach (1870-1938), German Expressionism created dramatic, compelling portrayals of scenes and people. The movement's three main groups were Der Blaue Reiter, Die Brucke, and Die Neue Sachlichkeit (New Objectivity).

    The Blue Rider expressionist group was formed in Munich, the home of the avant-garde Neue Kunstler Vereiningung (New Artist Association). Its most famous painters were the Russian born Wassily Kandinsky (1844-1944) and the German painter and printmaker Franz Marc (1880-1916).

    In 1911, Kandinsky and Marc split from the rest of the Neue Kunstler Vereiningung and began exhibiting their paintings under the banner of Der Blaue Reiter. Other members included Paul Klee (1879-1940), Gabriele Munter (1877-1962) and August Macke (1887-1914). It remained a loose association rather than a coherent group like Die Brucke, although in 1912 Marc and Kandinsky published their Almanach Der Blaue Reiter, a collection of essays on art. Their general aim was to inject art with spiritual values, using colour as a primary mechanism. The significance of the name Blue Rider remains unclear. Marc believed that animals had an innocence which made them superior to humans, and the colour blue might have had a special meaning for Kandinsky, as he could hear colours as well as see them - a condition known as synaesthesia. Der Blaue Reiter collapsed during the First World War when both Macke and Marc were killed. Examples of the group's expressionism can be seen in Cossacks (1910) by Wassily Kandinsky; The Little Blue Horses (1911) and Little Blue Horse (1912) by Franz Marc.

    The expressionist movement in Germany underwent a major revival during the 1970s and 80s, as part of the general movement known as Neo-Expressionism. Leading German neo-expressionists included Georg Baselitz (b.1938), Jorg Immendorff (b.1945), Anselm Kiefer (b.1945), Rainer Fetting (b.1949), Markus Lupertz (b.1941), and A.R.Penck (b.1939). For European collections containing works of German expressionism, see: Art Museums in Europe.

  10. What is German Expressionism? - SlideShare

    www.slideshare.net › what-is-german-expressionism

    May 26, 2013 · Significant Themes(German Expressionsm)As Expressionism evolved from just after the turn of the century throughthe early 1920s, a number of crucial themes and genres came into focus,many of which reflect deeply humanistic concerns and an ambivalentattitude toward modernity.These include:• a fascination with the enticing yet often wretched experiences ofmodern urban life;• the enduring solace associated with nature and religion;• the naked body and its potential to signify primal ...

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