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German expressionism and the types and characteristics of german expressionism
German Expressionism roots
Essay of German expressionism
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Burton’s film Sleepy Hollow is one of the most recognizable examples of modern expressionism that takes inspiration from German films of the twenties. Many of the characteristics associated with German Expressionism are utilized in this movie. It shares the same thematics as many German Expressionist films. In the film the use of abstract sets and lighting is crucial to the tone of the film.
The themes of fear, science and supernatural are also reminiscent of German Expressionism films, especially The Cabinet of Dr. Caligari where a city is terrorised by a seemingly unknown supernatural force but is resolved with science and logic. This is played upon with characters that fear the unknown and overcome their fears by having faith in science
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One characteristic prevalent executed throughout the film is the use of chiaroscuro, or use of the contrast between dark and light. The opening scene of the film is a perfect example of this. In the opening scene, the filmmaker uses the contrast of light and dark using lightning. The pursual of the man by the Headless Horseman was made more intense by the use of a dark obscureness that was randomly lifted for a second or two by the flashing lightning. It added to the otherworldly ambiance that is associated with German Expressionism. Another notable instance in which lighting is used is the scene in which the young Killian boy lights a candle a puts it within a special lamp that projects fairytale images upon the walls. The shadow and light projected images add to the eery scene as the young Killian boy’s father fights for his life against the Headless Horseman. The images are of the darker parts of tales - with witches, wolves, and fearsome beings. Another striking scene is when the Headless Horseman’s horse rears its head, standing on its hindlegs as the Horseman raises his axe against the backdrop of the moon, creating a silhouette. It almost resembles a shadow play, which was utilized by a German animator in 1910 to create silhouette animation. This creates a flat, surreal effect to the scene. Thus, you see silhouettes whenever the Headless Horseman makes his
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to establish tone mood, and imagery in the films.
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
The Transylvanian village itself embodies much theatrical mise-en-scene. The Old World-styled buildings in the village cast an antiquated ambience to the film. Most of the setting of the film is seemingly unto itself and unattached to the contemporary world in which the film otherwise takes place. [aestheticism- brummett quote]The lightning that almost ubiquitously strikes during exterior shots of the Frankenstein castle, as well as scenes involving Frankenstein's laboratory, becomes a character of its own: with intense flashes of light during the scene in which the exhumed corpse is given life to become the Creature.
One way the filmmakers did this is with the on location shots of rubble in many scenes. The characters in these shots are carefully placed to make the rubble stand out behind them. Lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays into the overall meaning of the film and not just how it looks. The lighting, for example, influences our feelings for certain characters. Susan Wallner is always filmed in light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed with low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans has confronted Bruckner and as the camera cuts back and forth to each of them we see Hans shadow keeps growing bigger and bigger behind Bruckner. We can interpret that as the shadowing is growing bigger so his Bruckner’s fear, because the dialogue coming from Bruckner is getting faster and we can also hear the fear. There are many times in the film where close ups are used to make the storyline more dramatic. One scene that comes to mind that makes use of quick cuts and close ups is in the end of the film: Susan ran in, stopping Hans from killing Bruckner. At this point we
Most Americans probably believe our times are different from Washington Irving’s era. After all, almost 200 years have passed, and the differences in technology and civil liberties alone are huge. However, these dissimilarities seem merely surface ones. When reading “Rip Van Winkle” and “The Legend of Sleepy Hollow,” I find that the world Irving creates in each story is very familiar to the one in which I grew up. The players may have changed, and institutions have mostly replaced roles traditionally taken on by people, but the overall pieces still fit the rural lifestyle of contemporary America.
First of all, diegetic sounds and ambient sound effects are integral in creating tension and apprehension in the film, as “ …sound plays a critical role in determining how audiences react to images.” (p.234) At the background of the opening shot the audience hears the distant roll of thunder; gradually its sound increases and reaches its maximum, causing fear of impending jeopardy. As the tension escalates, the volume of the sound rises, we hear the roaring of dancers’ drums, and its sound is intentionally exaggerated, the tempo of music speeds up as well as the dance of the indigenous performers of the ritual sacrifice to gods. The alteration of volume and tempo of the sound heightens suspense and makes the audience anticipate with anxiety the forthcoming shots.
Janey Place and Lowell Peterson article “Some Visual Motifs of Film Noir” establishes noir as a visual style and not a ...
Rylee O’Brien Ms. Daniel Language Arts 5-6 10 December 2017 Recapturing The Past A woman named Lauren Oliver once said, “Take it from me: If you hear the past speaking to you, feel it tugging up your back and running its fingers up your spine, the best thing to do-the only thing-is run.” When reading the story, The Legend of Sleepy Hollow, this quote is very relevant to the people of Sleepy Hollow. Ichabod Crane lives in a the small town of Sleepy Hollow, he falls in love with Katrina Van Tassel.
The first movie I would like to concentrate on is the film that is considered to have started the development of the genre – M by Fritz Lang (1931). Born in Germany and originally starting his career there, Fritz Lang shot this film in Germany as well, before moving to the U.S. later in life. This film was also later translated in the United States in 1933 (Garncarz 219-25). Although, earlier in the 20th century Hollywood had already produced a number of films that had similar features to “film noir” (among them are Nosferatu (1922) and Sunrise (1927)), but which still were shot more in the stylistic traditions of horror (Wexman 49). This film (M (1931)) was also the first one to start a whole line of black and white movies with similar characteristics and techniques used in them. Although color movies have already taken their established place in the film industry, the decision to shoot films in black and white was a creative technique that provided films with a certain atmosphere and allowed using more denominated shadows and light accents. Everything in this film, from complex, maze-like narrative which includes crime, police and court and leitmotif as a background music to the shadows on the columns and in the windows and simple shots that presuppose something horrifying. Lang also explores an unsavory subject in his work which is now considered one of the features of “film noir” (Brégent‐Heald 125-38). M’s plot and narrative shifts from protagonist’s to antagonist’s point of view (the viewpoint of Hans and the cops trying to catch him), blurring the boundary between
The Cabinet of Doctor Caligari. Dir. Robert Wiene. Perf. Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, Hans Twardowski. Goldwyn Distributing Company, 1994. DVD.
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
The German Expressionism was a period that came following the devastation of World War I, it came when the people of Germany needed something to claim as their own. The expressionism movement gave Germany just that; it helped them not only in the filmmaking industry, but also in their personal lives. The German Expressionism changed the way we look at and view films. The German Expressionism altered, for the better, the way that films were made back then and the way that they are made today.
The producer was aiming to create mystery and fear. The dark of the night and the description of the house as feeling dead in the protagonist’s narration sets a suspenseful scene filled with fear and tension. The young girl is followed by the camera as she explores the mansion. When entering the room suspected to be that of her aunts the camera leaves her side to pan around the room. The darkness doesn’t reveal everything but one becomes aware of a search. The revelation of little secrets leaves the viewer with many questions. The room is familiar to the protagonist as she finds items symbolic to her and familiar photographs. This familiarity however does not retract from suspicions that something sinister has been hidden. The producer has successfully captivated the viewer. The protagonist is being followed throughout the scene and has thus allowed for the viewer to bond with them. They are engaging with the audience through narration and have in return enticed the viewer to follow them along their journey. One feels nervous for the young girl however through tension in the scene one does not want them to discontinue the journey as too many questions have been left unanswered. One has been drawn into the world of which the protagonist dwells and is intrigued as to how the drama is
Lightning: The use of lightning in this film in the opening sequence is very important, because it give us a lot of details and indicates what the genre of the film is going to be by just looking at the character. An example of this convention is shown when the deer is running in the dark in the forest, which suggests that this is a horror and mythical and it also relates to Edward, because he lives in the forest where there’s not much sunlight, it’s very dark which also fits in very well with the genre. The director used this convention to