The first Expressionist films, The Student of Prague,[1] The Cabinet of Dr. Caligari (1920),The Golem[1] (1920), Destiny (1921),Nosferatu[1] (1922), Phantom (1922),Schatten (1923), and The Last Laugh (1924), were highly symbolic and stylized.
Various European cultures of the 1920s had embraced an ethic of change, and a willingness to look to the future by experimenting with bold, new ideas and artistic styles. The first Expressionist films made up for a lack of lavish budgets by using set designs with wildly non-realistic, geometrically absurd sets, along with designs painted on walls and floors to represent lights, shadows, and objects. The plots and stories of the Expressionist films often dealt with madness, insanity, betrayal, and other "intellectual" topics (as opposed to standard action-adventure and romantic films). Later films often categorized as part of the brief history of German Expressionism include Metropolis (1927) and M (1931), both directed by Fritz Lang.
The extreme non-realism of Expressionism was short-lived, fading away after only a few years. However, the themes of Expressionism were integrated into later films of the 1920s and 1930s, resulting in an artistic control over the placement of scenery, light, etc. to enhance the mood of a film. This dark, moody school of film making was brought to America when the Nazis gained power and a number of German filmmakers emigrated to Hollywood. These German directors found American movie studios willing to embrace them, and several German directors and cameramen flourished there, producing a repertoire of Hollywood films that had a profound effect on film as a whole.[2]
Two genres that were especially influenced by Expressionism are horror film and film noir.Carl Laemmle and Universal Studios had made a name for themselves by producing such famous horror films of the silent era as Lon Chaney's The Phantom of the Opera. German filmmakers such as Karl Freund (the cinematographer for Dracula in 1931) set the style and mood of the Universal monster movies of the 1930s with their dark and artistically designed sets, providing a model for later generations of horror films. Directors such as Fritz Lang,Billy Wilder, Otto Preminger, Alfred Hitchcock, Orson Welles, Carol Reed and Michael Curtizintroduced the Expressionist style to crime dramas of the 1940s, expanding Expressionism's influence on modern film making.
INTERPRETATION OF GERMAN EXPRESSIONISM
The first two seminal works on the era are Lotte Eisner's The Haunted Screen and Sigfried Kracauer's From Caligari to Hitler.[citation needed] .Kracauer examines German cinema from the Silent/Golden Era and eventually concludes that German films made prior to Hitler's takeover and the rise of the Third Reich all hint at the inevitability of Nazi Germany. For Eisner, German Expressionist cinema is a visual manifestation of Romantic ideals. She closely examines staging, cinematography, acting, scenarios, and other cinematic elements in films by Pabst, Lubitsch, Lang (her obvious favorite), Riefenstahl, Harbou, and Murnau. More recent German Expressionist scholars examine historical elements of German Expressionism, such as inflation/economics, UFA, Erich Pommer, Nordisk, and Hollywood.
INFLUENCE AND LEGACY
German silent cinema was arguably far ahead of cinema in Hollywood[3]. As well as the direct influence of film makers who moved from Germany to Hollywood developments in style and technique which were developed through Expressionism in Germany impressed contemporary film makers from elsewhere and were incorporated into their work and so into the body of international cinema from the 1930s onward.
A good example of this process can be found in the career of Alfred Hitchcock. In 1924, Hitchcock was sent by his film company to work as an assistant director and art director at the UFA Babelsberg Studios in Berlin on the film The Blackguard[4]. An immediate effect of the working environment there can be seen in his expressionistic set designs for The Blackguard.
The influence can also be seen though out the rest of Hitchcock's career. In his third film, The Lodger, Expressionism's influence extends to set designs, lighting techniques, and trick camera work[note 1] to the British public against the wishes of his studio.[3] In his later films, this influence continued through his visual experimentation. For example, in the shower scene from Psycho, Norman Bates' blurred image seen through a shower curtain is reminiscent ofNosferatu shown through his shadow. The development of these themes and techniques are not coincidental. Hitchcock said, "I have acquired a strong German influence by working at the UFA studios Berlin".[3] Hitchcock's film making has in its turn influenced many other film makers and so has been one of the vehicles which have propelled German Expressionist techniques into the present day.
Expressionism has also had an influence on contemporary films. For example Dark City is influenced by German Expressionism's stark contrast, rigid movements, and fantastic elements.[5][6]
Werner Herzog's 1979 film Nosferatu: Phantom der Nacht was a tribute to F.W. Murnau's 1922 film. The film uses Expressionist techniques of highly symbolic acting and symbolic events to tell its story.[7] Notably it links the vampire myth with the black death through the use ofblack rats. One may even notice the link between the evil character of the vampire portrayed by Klaus Kinski, and Nosferatu's star, Max Schreck.[citation needed]
Stylistic elements taken from German Expressionism are common today in films that do not need reference to real places such as science fiction films (especially Ridley Scott's 1982 filmBlade Runner and the many films influenced by it).[citation needed]
Ambitious adaptations of the style are depicted throughout the contemporary filmography of director Tim Burton. His 1992 film Batman Returns is often cited as a modern attempt to capture the essence of German Expressionism. The angular building designs and severe-looking city squares of Gotham City evoke the loom and menace present in Lang's Metropolis.
Burton's influences are most apparent in the fairy tale suburban landscape of Edward Scissorhands. The appearance of the titular Edward Scissorhands (not accidentally) reflectsCaligari's somnambulist servant. Burton casts unease in his candy-colored suburb, and the tension is visually unmasked through Edward and his Gothic castle. Burton subverts the Caligari nightmare with an inspired narrative branding, casting the garish somnambulist as the hero and the villagers as the villains.[citation needed]
The familiar look of Caligari's main character can also be seen in the movie The Crow. With the tight, black outfit, white makeup, and darkened eyes, Brandon Lee's character is obviously a close relative to Burton's film Edward Scissorhands.[citation needed]
Burton was also reportedly influenced by silent films and German Expressionism for his film adaptation of the musical Sweeney Todd: The Demon Barber of Fleet Street, describing the musical as a "silent film with music."
CINEMA AND ARCHITECTURE
Many critics see a direct tie between cinema and architecture of the time, stating that the sets and scene artwork of expressionist films often reveal buildings of sharp angles, great heights, and crowded environments, such as the frequently shown Tower of Babel in Fritz Lang’s Metropolis.[citation needed]
Strong elements of monumentalism and modernism appear throughout the canon of German expressionism. An excellent example on this is Metropolis, as evidenced by the enormous power plant and glimpses of the massive yet pristine 'upper' city.
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