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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.
Despite Powell's recent work with the three-strip Technicolour film process, war shortages meant a return to the black-and-white stock with which Hillier was familiar. The film is a mixture of British realism and the German expressionist [ 7 ] use of extreme light and shade which Hillier has been trained in, [ 8 ] and is remembered for its ...
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 ...
This is a list of the most notable films produced in Germany of the Weimar Republic era from 1919 until 1932, in year order. This period, between the end of World War I and the advent of the Nazi regime , is considered an early renaissance in world cinema, with many influential and important films being made.
Karl Christian Ludwig Hofer or Carl Hofer (11 October 1878 – 3 April 1955) was a German expressionist painter. He was director of the Berlin Academy of Fine Arts . One of the most prominent painters of expressionism , he never was a member of one of the expressionist groups, like " Die Brücke ", but was influenced by their artists.
At the end of the war he became a member of the Arbeitsrat für Kunst in Berlin, which was an anti-academic, socialist movement of German artists during the German Revolution of 1918–19. Schmidt-Rottluff’s angular, contrasting style became more colorful and looser in the early 1920s, and by the mid-1920s he began to evolve into flat shapes ...
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".