Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Expressionism
German Expressionism roots
German Expressionism roots
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Expressionism
German Expressionism and Dadaism Introduction Revolutionary forms of art have dominated much of Germany, apparently as a reaction to the First World War. The era in which the First World War took place – throughout the 1910s, featured artists coming together against what they think the pointless aggression said major conflict brought. German artists, in particular, protested against the social structures prevalent during the 1910s, within which the social structures of the Second Reich were prevalent. German society initially saw film, in particular, as quite an inelegant alternative to the bourgeoisie-associated theater. Such is due to the inability of the domestic film industry in Germany to develop films due to two reasons – the mass importation of foreign films from other nations with more advanced film industries and the consequent notion that films are associated with the lower classes (Kellner 3-39). Such impressions, however, changed with the rise of German expressionist film, with the seminal example being The Cabinet of Doctor Caligari by Robert Wiene. Expressionism in The Cabinet of Doctor Caligari The Cabinet of Doctor Caligari evokes an expressionist form characterized by notions of fear and anxiety duly connected to the situation of Germany during the 1910s. Albeit released in 1919 – the time when the Weimar Republic succeeded the Second Reich, which collapsed after the defeat of Germany in the First World War, The Cabinet of Doctor Caligari nevertheless delivered a strong criticism against the German war effort that time. Using a series of thought-provoking themes and symbolisms rotating around a macabre plot that consequently brings forth anxious feelings to audiences, The Cabinet of Doctor Caligari stood out in... ... middle of paper ... ...cerned with the pointlessness of the German war effort that time, which has caused catastrophe throughout Europe and great risks to lives – particularly in terms of enlistment to the imperial military, The Cabinet of Doctor Caligari served as a fitting rendition of their frustration towards the status quo they confronted. Works Cited Kellner, Douglas. "Expressionism and Rebellion.'" Passion and Rebellion: The Expressionist Heritage. Eds. Stephen Eric Bronner & Douglas Kellner. New York City, NY: Columbia University Press, 1988. 3-39. Print. Kracauer, Siegfried. "Caligari.'" From Caligari to Hitler. Revised and Expanded Edition. Princeton, NJ: Princeton University Press, 2004. 61-76. Print. The Cabinet of Doctor Caligari. Dir. Robert Wiene. Perf. Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, Hans Twardowski. Goldwyn Distributing Company, 1994. DVD.
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
Where Schlondorff, Wenders, Herzog, Fassbinder and Kluge once investigated the extremities of the German character and the Americana that infested West German culture through the New German Cinema of the late 60s, 70s and early 80s, the Germany of today has through its cinema acknowledged past hardships but with a more positive emphasis placed on the possibilities of forgiveness, redemption and hope for what can be made of tomorrow. Bibliography A Reversal of Fortunes? Women, work and change in East Germany. Rachel Alsop.
From The Birth of Tragedy, where Wagner's music represented the hope for the re-birth of pre-Socratic Greek culture to The Case of Wagner, where Wagner was the artist of German decadence par excellence, Richard Wagner always personified nineteenth century Germany for Nietzsche. By examining Nietzsche's relationship to Wagner throughout his writings, one is also examining Nietzsche's relationship to his country of birth. In this paper, I carry out such an investigation with a focus on the late period (the writings after Thus Spoke Zarathustra) in order to clarify Nietzsche's view of his own project regarding German (and by extension European) culture. I show that in the late period Nietzsche created a portrait of Wagner in which the composer was a worthy opponent; meaning someone with whom Nietzsche disagreed but viewed as an equal. Nietzsche himself took on several worthy opponents, and he claimed that in his battle with "these objects of resistance" he learned about himself. Wagner was such an object of resistance because he represented the disease of decadence which plagued the culture and from which Nietzsche emphasized his overcoming. The goal of this portraiture was to demonstrate on an individual level what could be done on a cultural level to revitalize the culture and make it healthy.
Fritzsche, Peter. Life and Death in the Third Reich. 1st Ed. ed. Cambridge, MA: Belknap of Harvard UP,
Herman Hesse’s Siddhartha reflects 3 different phases of World War 1: the before, the during, and the aftermath.
Shirer, William L. The Rise and Fall of the Third Reich: a History of Nazi Germany. New York:
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...
Frei, Norbert. “People’s Community and War: Hitler’s Popular Support.” The Third Reich Between Vision and Reality: New Perspectives on German History, 1918-1945. Ed. Hans Mommsen. Oxford: Berg - Oxford International Publishers, Ltd., 2001. 59-77.
Mckale,Donald M.. Hitler’s Shadow War, the Holocaust and World War 2. New York: Cooper Square.2002.Print.
Kershaw, Ian. 1987. The ‘Hitler Myth’ Image and Reality in the Third Reich. New York: Oxford University Press.
Barbara Tuchman's Pulitzer prize-winning book about the start of World War I is a fascinating and detailed work that delivers the thoughts and actions of the belligerents and their previously mysterious leaders to life on every page. This military history of the first month of the war is written in a way as to keep the reader interested because of the great detail. The author also manages to write about the events in such a manor as the reader sees them as they happened. Despite any previous knowledge about the historical events of the war, the book manages to keep you wondering if the Germans will succeed in its aims.
The Weimar years were marked by extraordinary and unrivaled economic, political, and social struggles and crises. Its beginning was marked as being especially difficult in that Germany was wiped out and devastated after four years of the unprecedented warfare of World War I. By 1918 the world had been shocked with over 8.5 million killed on both Allies and Axis sides and many more severely mangled and scarred – body, mind and spirit. This is seen as German Soldier, Ernst Simmel, writes, “when I speak about the war as an event, as the cause of illness, I anticipate something has revealed...namely that it is not only the bloody war which leaves such devastating traces in those who took part in it. Rather, it is also the difficult conflict in which the individual finds himself in his fight against a world transformed by war. Either in the trenches or at home can befall a single organ, or it may encompass the entire person” (Simmel, 1918). For Ernst, and millions of other participants, the war had turned forever changed their world.
Sokel, Walter H. The Writer in Extremis, Expressionism in Twentieth-Century German Literature. 1st ed. California: Stanford University Press, 1969.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.
Mann writes this story shortly after the first World War through the eyes of a German Professor. The story takes place in Munich, Germany in the year 1926 where the Professor and his family prepare themselves for a party in the late afternoon (Mann 2). The results of the Great War are present throughout the entir...