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Cinema outside Germany benefited both from the emigration of German film makers and from German expressionist developments in style and technique that were apparent on the screen. The new look and techniques impressed other contemporary film makers, artists and cinematographers, and they began to incorporate the new style into their work.
German expressionism surfaced as a German art movement in the early 20th century. The focus of this movement was at the inner ideas and feelings of the artists over the replication of facts. Some of the characteristic features of German expressionism were bright colours and simplified shapes, brushstrokes and gestural marks.
The German film industry, which was protected during the war by the ban on foreign films import, became exposed at the end of the war to the international film industry while having to face an embargo, this time on its own films. Many countries banned the import of German films and audiences themselves were resisting anything that was "German ...
Pages in category "German Expressionist films" The following 27 pages are in this category, out of 27 total. ... Shattered (1921 film) The Street (1923 film)
Kammerspielfilme (the plural form) formed a German film movement of the 1920s silent film period that was developed around the same time as the more commonly known Expressionist movement in cinema. The Kammerspielfilm was known as the "chamber drama" as a result of the influence from the theatrical form of the chamber play. [4]
On the film's initial release, the French critics' general response was moderate, ranging from mild enthusiasm to general disdain or disappointment, claiming it to be either a repetition of German expressionism or simply a disappointment of the director's leap from documentary filmmaker to a genre film-maker claiming the film to be in a "minor ...
Expressionism on the American stage: Paul Green and Kurt Weill's Johnny Johnson (1936). Expressionism was a movement in drama and theatre that principally developed in Germany in the early decades of the 20th century. It was then popularized in the United States, Spain, China, the U.K., and all around the world.
It is the job of classical Hollywood cinema to get the audience lost and absorbed into the story of the film, so that the film is pleasurable. In contrast the task of European art cinema is to be ambiguous, utilizing an open-ended (and sometimes intertextual ) plot, causing the audience to ask questions themselves whilst introducing an element ...