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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)
The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 German silent horror film directed by Robert Wiene and written by Hans Janowitz and Carl Mayer.The quintessential work of early German Expressionist cinema, [3] it tells the story of an insane hypnotist (Werner Krauss) who uses a brainwashed somnambulist (Conrad Veidt) to commit murders.
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 ]
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 ...
The self-deluded lead characters in many expressionist films echo Goethe's Faust, and Murnau indeed retold the tale in his film Faust. German expressionism was not the dominant type of popular film in Weimar Germany and were outnumbered by the production of costume dramas, often about folk legends, which were enormously popular with the public ...
Historical circumstances, for example, limit the choices for the director. During the silent film era, filmmakers were not able to use synchronized dialogue until sound became possible in the late 1920s. [3] Films before the 1930s were black and white; now directors have the choice of shooting in color tints or black and white. [4]
Film critic Leonard Maltin gave the film 3 1/2 out of a possible 4 stars, calling it a "chilling, visually dazzling story of the supernatural, based on a famous Jewish folktale of the 16th century" and a "classic of German Expressionist cinema". Maltin also noted the film as a forerunner to the 1931 film adaption of Frankenstein. [16]