German Expressionism
German film is widely regarded as the first artistic
movement of film. Dating back to the 1920’s as an early film movement that at
one point led the film revolution in Europe. Where the US film industry was
solely involved in profits, German film had art and profit at the forefront. Not
only did filmmakers seek help from artists to create but most expressionism
films were an escape from the troubles of the Weimar Republic.
The Weimar government
rose from the end of World War One. A disjointed political setup which created
huge amounts of inflation, uncertainty, unemployment and most worryingly the
rise of Hitler. But most importantly it created a new genre of Film. German
expressionism offered escapism form the turmoil of the political landscape.[1]“Between
1919-1923, while the German economy faltered the commercial film industry
flourished.”
The Cabinet of Dr Caligari (1920) directed by Fritz Lang was
beginning of collaboration in German cinema whereby a film wasn’t solely formed
by its director but a cooperation of work. It is widely observed as one of the finest
classic silent horror movies. “The film’s morbid evocation
of horror, menace, and anxiety and the dramatic, shadowy lighting and bizarre
sets became a stylistic model for later Expressionist films.”
Nosferatu
(1922) is another crucial film of the expressionism movement. The stylised movements
indicate a huge amount of information about the German society of Weimar Germany.
The presence of threat is instantly clear. Count Orlok (Vampire) arrives from the
east which is a metaphor for the impending threat of Russia. The way that Orlok
passes through scenes is a clear representation of a rat which in Germany would
have been a symbol to characterise Jews. Jews were antagonised due to their
wealth and ways of living and the fact that Orlok lives in a decadent mansion
is another clue to the wider message.
Nosferatu’s depiction of women is also intriguing. “Hutter is sent by his boss to Transylvania to visit a new client,
Count Orlok. Meanwhile, he gives his wife to his best friend Harding to look
after her whilst he is away.” Women in this period were seen as weak
and incapable of looking after themselves and the movements of Hutter’s support this.
It’s important to note the movement’s importance in the
beginning of Mis en Scene to the film world. The artistic focus in Germany allowed
for greater attention to all aspects of a scene and Metropolis (1927) again directed by Fritz Lang is an early showcase
of props, location and lighting under consideration. “Dark,
exaggerated make-up and hair styles are expressionistic, as well as contrast
between light and dark”
Metropolis involves
the chaos of machines taking over the world, which is regarded by many as an analogy
related to the rise of Nazism. Hitler was rapidly progressing through the
political system by 1927 which highlights the relevance of Metropolis’ message. Machines with no emotions (Gestapo) would eventually
form the future of Germany up until the end of World War Two.
Without the introduction of the world’s most influential art-house attempt
of cinema, there’s no doubt the European Film industry would have been years
behind Hollywood even into the present day. Even if the German message was
often Dystopian.
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