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Info on German Expressionist FilmsThe Techniques and Influence of Metropolis, Nosferatu, M and Others
A brief look at German expressionist cinema, what defines the genre and how it has influenced film noir, horror and modern cinema.
German expressionist films were prevalent in the 1920s. Amongst the most well remembered are films such as The Cabinet of Dr Caligari (Robert Weiner, 1920), Nosferatu (F.W. Murnau, 1922), Metropolis (Fritz Lang, 1927) and Sunrise (F.W. Murnau, 1927). These films were united by highly stylized visuals, strange asymmetrical camera angles, atmospheric lighting and harsh contrasts between dark and light. Shadows and silhouettes were an important feature of expressionism, to the extent that they were actually painted on to the sets in The Cabinet of Dr Caligari. German Expressionist Influence on Film NoirThe story lines of German expressionist films matched the visuals in terms of darkness and disillusionment. Often sombre in mood and featuring characters from a corrupt underworld of crime, the films' dramatic effects produced motifs of claustrophobia and paranoia. The same words could be used to describe 1940s Hollywood film noir, a genre hugely influenced by German expressionism. Film noir is typified by Bogart and Bacall in films such as The Big Sleep. Fritz Lang himself also went on to make notable film noirs such as Fury and You Only Live Once. Horror FilmsMany modern films demonstrate the influence of German expressionism, particularly horror films. The style of German expressionism is ideal for portraying macabre subject matters. Devices such as low key lighting are used to convey mystery, and monsters lurking in shadows. Distortion is also commonly used in both expressionism and later horror films, employed through make-up, camera angles, costumes and strange backdrops. Metropolis and MMetropolis is a stylistically avant garde science fiction film. It features an archetypal mad scientist character who creates a robot doppleganger of the film's heroine Maria. The evil robot defies her master, ultimately leading to the destruction of the city. Director Fritz Lang is the Godfather of psychologically well rounded characters, providing believable, multi-faceted (anti) heroes, prophetic in many ways of Humphrey Bogart's screen persona. In Lang's late expressionist classic M (1931), he uses techniques that exaggerate reality and provide visual clues for the audience as to the psychology of the characters. M is about a horrorific child killer, credibly portrayed by the superb Peter Lorre. Lang emphasizes his character's deranged mind by using close up shots of Lorre's expressive eyes. He also provides the character with a theme song – Greig's "In the Hall of the Mountain King " – which he whistles, creating an eerie, suspenseful effect. Since M, children's songs have often provided sinister overtones in horror films, such as Wes Craven's A Nightmare on Elm Street for instance. Nosferatu and SunriseF. W. Murnau's Nosferatu is an iconic and enduring figure in horror films. Adapted remotely and without permission from Bram Stoker's Dracula, Nosferatu combined surreal angular shots and elaborate lighting with normal, realistic settings. This technique (of using normal settings) is widely used in horror to undermine the audience and their perception of the film as “it's only a movie”. Normal locations add to the realism and make horror films even scarier. Murnau went on to make Sunrise in America; a Hollywood expressionist film. Sunrise used enormous sets to create a hyper-real fairy tale world setting for its characters. The art direction in expressionist films always helps to tell the story, and mirrors the psychological tensions of the characters. German Expressionism has had a considerable impact on modern cinema, with many of the techniques associated with the genre seamlessly absorbed into mainstream films. For further information check out David Hudson's extensive essay on GreenCine. Further Reading on the history of film genres which may be of interest: Social Realism in British Film References:
The copyright of the article Info on German Expressionist Films in Foreign Films is owned by Michelle Strozykowski. Permission to republish Info on German Expressionist Films in print or online must be granted by the author in writing.
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