VM100 Lecture Notes - Lecture 6: Kammerspielfilm, Stop Motion, Point-Of-View Shot

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VM100!
Semester 1 Lecture 6!
Prof. Michael Selig
*German Expressionism*
-Modernism rejects the conventions of naturalism
-Why non-naturalistic for German expressionists?- “Conscientiousness and exact imitation of
nature does not create a work of art”- Emil Nolde
Figurative vs. Abstract Expressionism- Psychological “truths” vs “truth” of artistic form ex:
Kirchner vs. Kandinsky
Figurative Expressionism and German Cinema in 1920s
Issue: Relationship of subject to urban/industrial environments
-Modernity and the self-onset of modernity-living in industrial, urban settings changes culture,
problems, society and the self
-Visual style influenced by theater and painting
-Cinema in interwar phenomenon- between WWI and WWII, treaty of versailles
German expressionist cinema- Considered the “golden age” of German film, from 1920s until
rise of the nazism
-“Cabinet of Dr. Caligari” considered first expressionist film
-Disagreements over what films are “expressionist” (historical vs. aesthetic approaches)
**Decla’s “The Cabinet of Dr. Caligari”-
Mise-en-scene and decoration- Sense of distress, world out of control, theater influence
with lights/shadows and crowded frames
-Decla and Deutsche Bioscop merge in 1920
-Nov 1921- UFA absorbs Decla-Bioscop. Monopoly, no room for failure with expensive films
Parufamet Agreement (1925)- UFA rescued from bankruptcy, loans from Paramount and UFA
-Erich Pommer resigns as head of UFA in 1926
1927- UFA sold to nationalist publisher Alfred Hugenberg
-German talent emigrates, most to “HOLLYWOOD”- were most money and filmmaking is
beginning to congregate. All types of people are leaving!
Three Narrative Conventions
1) Loss of individual will- actions are determined, not like Hollywood heroic subject who
dominates environment and saves the day
2) 2) Characters with internal conflicts (vs. external conflicts of melodrama) (ex: F. Lang’s
“Metropolis) as opposed to real settings- distinctive editing
3) Focus on pathological and/or unnatural (ex: Murnau’s “Noseferatu”)
Three Visual Conventions
-A mise-en-scene style (F. Lang’s “Metropolis”) as opposed to real settings- distinctive editing
1) Low-key lighting (chiaroscuro) “shadows” (vs. three-point lighting: key light, full light and
back light that would create a sense of depth)
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Document Summary

Why non-naturalistic for german expressionists?- conscientiousness and exact imitation of nature does not create a work of art - emil nolde. Figurative vs. abstract expressionism- psychological truths vs truth of artistic form ex: Modernity and the self-onset of modernity-living in industrial, urban settings changes culture, problems, society and the self. Cinema in interwar phenomenon- between wwi and wwii, treaty of versailles. German expressionist cinema- considered the golden age of german lm, from 1920s until rise of the nazism. Cabinet of dr. caligari considered rst expressionist lm. Disagreements over what lms are expressionist (historical vs. aesthetic approaches) Mise-en-scene and decoration- sense of distress, world out of control, theater in uence with lights/shadows and crowded frames. Monopoly, no room for failure with expensive lms. Parufamet agreement (1925)- ufa rescued from bankruptcy, loans from paramount and ufa. Erich pommer resigns as head of ufa in 1926. 1927- ufa sold to nationalist publisher alfred hugenberg.

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