1. Ynno Louis IdananYnno Louis Idanan
1467714677 ANNA3BANNA3B

2. 
 Introduction
 Rise of the German Film Industry
 A brief intro to the start of german expressionism
 Principle directors of the Movement
 What makes German Expressionism Unique
 The End of the Movement
 It’s Influences to Hollywood, Specifically Film Noir
and American Crime Thrillers.
Content

3. 
 There are a lot of crime shows nowadays that we
would be able to say, comes from the ideology, or
even only the Mise-en-scene of German
expressionism. Which would be one of the main
traits that MAKES German Expressionism unique.
Introduction

4. 
 Shows such as Hannibal (Ridley Scott) or CSI: Crime Scene
Investigation which focus mostly on reading the minds and psyche
of criminals and madmen, and their view to the world, showing off
a dark and Nightmarish theme, make fine examples of German
Expressionisms influence within Hollywood.

5. 
 1920-1933: Flourishing of The Expressionist
Movement
 1916: Gov’t Banned most of Foreign Films locally
 1918: 130 local Film production companies
 1921: 300 local Film production companies
Rise of the German Film
Expressionism

6. 
 German Gov’t gave Full support to the Local Film
Producers during the Weimar Period
 Post War period of Germany
 Germany sold Films cheaply abroad and imported
less foreign films

7. 
 Late February, 1920: The Cabinet of Dr. Caligari
 Originally was supposed to be Directed by Fritz Lang.
 Became the Template of Local Directors for
Expressionist Films.
 Proved to still be the most prominent German
Expressionist Film until the End of the Movement.
Beginning of the Movement

8.  Robert Weine:
 The Cabinet of Dr. Caligari (1920)
 Raskolnikow (1923)
 The Hands of Oralc (1924)
 F.W. Murnau :
 Nosferatu (1922)
 Tartuffe (1925)
 Faust (1926)
 Fritz Lang:
 The Weary Death aka Destiny (1921)
 Dr. Mabuse the Gambler (1922)
 Kriemhild’s Revenge (1924)
 Metropolis (1927)
Prominent Directors of the
Movement:

9.  February, 1920: Decla Company releases The Cabinet of Dr. Caligari,
directed by Robert Weine, marking the beginning of the German
Expressionist Movement in Film.
 Spring, 1920: Decla and Deutsche-Bioscop merged to form Decla-
Bioscop; under the Erich Pommer’s supervision.
 November, 1921: UFA absorbs Decla-Bioscop, still under Pommer as a
separate production unit.
 Autumn, 1924: Hyperinflation ends.
 December, 1925: UFA is rescued from bankruptcy by loans from
Paramount and MGM.
 February, 1926: Pommer is forced to resign as the head of UFA.
 January, 1927: Metropolis, Fritz Lang.
Important dates to take note of
during the movement

10. 
 Offers nightmarish dark realms.
What makes German
Expressionism Unique?

11. 
 Plays with the Mise-en-scene:
 Lighting
 Staged and stylized sets
 Exaggerated surrealist settings
 Jerky/Dance-like Movements of the actors

12. 
 1920-1924 Amount and quality of German
Expressionist Films were intense.
 January 1927: Marked the end of German
expressionism movement.
The end of the Movement

13. 
 Excessive budgets of the later films
 Low number of German Expressionist Film makers that
are still interested in the style.
 Departure of Expressionist Film makers into Hollywood.
 Restructuring of the UFA (Universum Film
Aktiengesellschaft).
 Resulting in Pommers departure for Hollywood
 Film makers could no longer have exceeded budgets from
the Gov’t to produce Films
Reasons for the decline of the
movement

14. 
 Film Noir: Classical Crime Dramas of Hollywood
 Use of lighting, and prominent use of shadows.
 Use of Low-angle, Wide-angle, Skewed/Dutch Shots
(sometimes through distorted objects such as mirrors).
 Setting and narrative form of the story, being dark, and
corrupt.
Influences in Hollywood

15. 
 The Woman in the Window
 The Blue Gardenia
 Scarlet Street
 The Big Heat
 The Secret Beyond the Door
 Beyond a Reasonable Doubt
Film Examples
Fritz Lang

16. 
 German Expressionism, although indirect, still
influences modern day films, in terms of the use of
their narratives, themes, camera angles, etc.
Conclusion

17. 
 Thompson, K. & Bordwell, D. (2009) Film History: an
Introduction. 3rd
edition. New York: McGraw Hill
Higher Education.
 Rausch, A.J. (2004) Turning Points in Film History.
Illustrated. New York: Citadel Press.
 Brockmann, S. (2010) A Critical History of German
Film: Volume 93 of Studies in German Literature,
Linguistics and Culture. Illustrated. New York:
Camden House.
Bibliography