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German Expressionism was an artistic movement in the early 20th century that emphasized the artist's inner emotions rather than attempting to replicate reality. [1] German Expressionist films rejected cinematic realism and used visual distortions and hyper-expressive performances to reflect inner conflicts. [2]
From Morn to Midnight (German: Von morgens bis mitternachts) is a 1920 German silent expressionist film directed by Karlheinz Martin based on the 1912 play From Morning to Midnight by Georg Kaiser. It is one of the most radical films of the German Expressionist movement.
The Golem is in the public domain [11] and over the years has been released many times in poor quality, unrestored black and white versions. It is the only movie in the Golem trilogy that survived World War II. [6] [12] The film was first restored in 1977 in Germany and scored by Karl-Ernst Sasse. This version is not readily available on home ...
Die Brücke (The Bridge), also known as Künstlergruppe Brücke or KG Brücke, was a group of German expressionist artists formed in Dresden in 1905. The founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner, and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein, and Otto Mueller.
The song "Mother of Pain" was accompanied in 2008 by an Argentine short film about German expressionism and avant-garde aesthetics. [3] The successor Pièce Héroique was released in 2006 on May 8. [4] In addition to various very martial pieces ("On Wings of Steel", "Heaven and Hell") Erdmann expanded the stylistic range of his project on this ...
Herwarth Walden (actual name Georg Lewin; 16 September 1879 – 31 October 1941) was a German expressionist artist and art expert in many disciplines.He is broadly acknowledged as one of the most important discoverers and promoters of German avant-garde art in the early twentieth century (Expressionism, Futurism, Dadaism, Magic realism).
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 ]
Expressionist music would "thus reject the depictive, sensual qualities that had come to be associated with impressionist music. It would endeavor instead to realize its own purely musical nature—in part by disregarding compositional conventions that placed 'outer' restrictions on the expression of 'inner' visions".