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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]
Pages in category "German Expressionist films" The following 27 pages are in this category, out of 27 total. This list may not reflect recent changes. A. Algol (film)
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 ...
Metropolis is a 1927 German expressionist science-fiction silent film directed by Fritz Lang and written by Thea von Harbou in collaboration with Lang [4] [5] from von Harbou's 1925 novel of the same name (which was intentionally written as a treatment). It stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge, and Brigitte Helm.
The street scenes are a series of works by the German artist Ernst Ludwig Kirchner made between 1913 and 1915. The cycle is regarded as one of the most important works of German expressionism. It consists of 11 paintings, 32 pages from sketchbooks, 15 ink brush drawings, 17 pastel and chalk drawings, 14 woodcuts, 14 etchings and 8 lithographs.
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.
Early modernist film came to maturity in the era between WWI and WWII, with characteristics such as montage and symbolic imagery, manifesting itself in genres as diverse as expressionism and surrealism (as featured in the works of Fritz Lang and Luis Buñuel) [1] while postmodernist film – similar to postmodernism as a whole – is a reaction to modernist works, and to their tendencies (such ...
The Tower of Blue Horses was a large work, 200 by 130 centimetres (6 ft 7 in × 4 ft 3 in). [1] Most of the picture is occupied by a frontal view of four primarily blue horses, arranged in a tier to the right of centre, facing the viewer but with their heads turned to the left; the foremost horse seemed "only a little less than life size" to at least one writer. [2]
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