Cinema expressionnist

The cinema expressionnist is a form of Cinéma which developed in Germany in the Années 1920.

Germany recovers with difficulty from the First World War and cinema industry, then in full expansion, has evil to compete with the luxurious and extravagant productions of Hollywood because of the economic recession. The realizers of the German studios UFA then develop a method to compensate for the lack of means, by using the symbolism and the setting in scene to create an atmosphere and an expressive depth with films. The first films expressionnists, in particular the Cabinet of Doctor Caligari (Robert Wiene, 1919), Golem (Carl Boese, 1920) and Nosferatu the Vampire (F.W. Murnau, 1922) are accounts filmed highly symbolic systems and approaching the Surréalisme.

In the Years 1920, the movement hobby-horse causes a revolution in the artistic world and the various European cultures preach a change and the desire to consider the future by the experimentation of ideas and new and revolutionary styles. The first films expressionnists did without large means by making use of decorations abstracted, with the absurd geometrical reasons, and of drawings on the walls and the floors intended to represent the various lights, shades and objects. The tackled subjects often related to the madness and others turbid mental, treason, as well as other spiritual subjects, in opposition with the films which one could see then, on romantic topics and of adventure.

The abstraction with excess of the films expressionnists was however of short duration, and disappeared gradually after a few years, with the loss of influence of dadaism. Nevertheless, one can find the topics expressionnists in other films of the years 1920 or 1930, where they result from an artistic takeover on the fitting of the decorations, the lights and the shades to create the atmosphere of a film. This cinematographic school had an influence on the American cinema with the emigration of many German realizers towards Hollywood at the time of the come to power of the Nazis in Germany. They were accommodated with open arms by the American studios; several of them had a flourishing career then, and their production had a major impact on the cinema.

Two kinds were particularly influenced by the expressionnism: the Black film and the Film of horror. Carl Laemmle and the Studios Universal were made a name by producing famous films of horror lasting the time of the dumb , such as the Phantom of the opera (Lon Chaney, 1925). German emigrants, such as Tod Browning ( Dracula , 1931) inspired the style and the atmosphere of films of monsters of the Universal Studios in the years 1930, with very dark artistic decorations, and thus constituted a reference for the following generations of films of horror.

At the same time, other realizers like Fritz Lang or Michael Curtiz introduced the style expressionnist into police films of the Années 1940, and influenced the following generations scenario writers, while thus making survive the expressionnism.

Internal bonds

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