Explore the Methods and Motivations of German Expressionism

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Explore the methods and motivations of German Expressionism Beginning life as an avant-garde movement in painting, German Expressionism began to spread across mediums revolutionising Theatre, literature and of course impacting the world of film, particularly in a massive way in the 1920s. As the First World War came to a close, international audiences had begun to recognise this revolutionary approach to German Cinema as they grew tired of the over saturated classical Hollywood narratives on offer to them. This was probably fuelled mostly by the starting essences of the great depression of the year 1929 meaning people all over the world were unhappy and were grounded to the gloom reality of the aftermath of the war. They were simply not interested in the false escapism that Hollywood films could only provide. So a very basic description of German expressionism would be an art form of noticeable extreme human emotion, extending on this as the artist Edvard Much world famous for the expressionist painting The scream (1893) stated ‘No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.’ Extending even further on that, expressionism is the opposite of impressionism, where in impressionist art you paint the picture like a snapshot or photo in expressionism you paint the world not quite as it is. Two defining yet contrasting works of the expressionistic era of film I will be citing from in this essay is Lotte H. Eisner's The Haunted Screen (1952), and Siegfried Kracauer's From Caligari To Hitler - A Psychological History Of German Film (1947). What these two books point out is two reoccurring themes the films focused on at certain times and how they seemed to change over a long period of time. Love and romance was vital in the 1920’s. This theme played a huge part at the beginning
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