Caligari’s Children

►”Goal to express feelings in the most direct and extreme fashion possible. . . extreme distortion to express an inner emotional reality rather than surface appearances”; S. S. Prawer (Caligari’s Children) raises the possibility that this distortion is quite “real”--e.g., Caligari sees aspects of the world not readily apparent to others.

• ►”Goal to express feelings in the most direct and extreme fashion possible. . . extreme distortion to express an inner emotional reality rather than surface appearances”; S. S. Prawer (Caligari’s Children) raises the possibility that this distortion is quite “real”--e.g., Caligari sees aspects of the world not readily apparent to others.

Narrative structure

• Narrative structure

• (a) legends
• (b) the supernatural, horror (but psychological)

Distortion, stylization of sets, costumes, makeup, acting, lighting

• Distortion, stylization of sets, costumes, makeup, acting, lighting

High contrast (in film, B&W; in the other arts, with colors)

• High contrast (in film, B&W; in the other arts, with colors)

Entirely studio-made (control!)

• Entirely studio-made (control!)

In a commercial film context

• In a commercial film context

• Growth fostered by inflation/reparations that favored export of products including film, import ban 1916-20

• Artistically, part of movement begun about 1908

• During the Weimar Period

• The origins of a national cinema--UFA

UFA = Universum Film AG (originally Universum Film Aktiengesellschaft)

• UFA = Universum Film AG (originally Universum Film Aktiengesellschaft)

• Created by German government in 1917 as a WWI propaganda arm, by consolidating most of Germany‘s commercial studios

• After a 1921 merger with Decla-Bioscop, "with government, industrial and banking support," UFA enjoyed a near-monopoly

• Produced many great and influential works during the Weimar Republic years (1919-1933 approx.)

• Through many incarnations, UFA still exists today

Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)

• Historical spectacles (e.g., Ernst Lubitsch’s Madame du Barry)

Kammerspiel (e.g., F. W. Murnau’s Last Laugh)

• Kammerspiel (e.g., F. W. Murnau’s Last Laugh)

Widespread impact, due to Germany’s status as #2 filmmaking nation 1918-1933

• Widespread impact, due to Germany’s status as #2 filmmaking nation 1918-1933

Robert Wiene (1873-1938) (Cabinet of Dr. Caligari, 1919)

• Robert Wiene (1873-1938) (Cabinet of Dr. Caligari, 1919)

Fritz Lang (1890-1976) (Die Niebelungen, including Siegfried, 1924; Metropolis, 1927)

• Fritz Lang (1890-1976) (Die Niebelungen, including Siegfried, 1924; Metropolis, 1927)

F. W. Murnau (1888-1931) (Nosferatu, 1922; Faust, 1926; Sunrise (U.S. release, 1927))

• F. W. Murnau (1888-1931) (Nosferatu, 1922; Faust, 1926; Sunrise (U.S. release, 1927))

Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)

• Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)

Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)

• Displaced artistically by new realism, e.g., “street films” (G. W. Pabst)

• Prominent German Expressionist directors and performers were lured away to Hollywood (including the 1925 Parufamet agreement. . . PAR – UFA – MET)

• G. W. Pabst
• F. W. Murnau
• Emil Jannings
• Fritz Lang (he ran, rather than being lured)

The Style!

• The Style!

• Most of Tim Burton’s films
• The Crow, similar gothic-styled works

end

• end