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.


[1] Murray, B. Film and the German left in Weimar Germany (University of Texas Press, 1990)

Comments

Popular posts from this blog

New Zealand Cinema

Masculinity in Crisis

Hollywood Film Industry