We watched The Cabinet of Dr. Caligari in class. Watch Nosferatu on your own...you might want to watch it with the lights on.
German Expressionism was developed at a precarious time period in history. These two films present underlying issues that were taking place in Germany at the time. What are these issues and how are they presented cinematically? Include at least one quote from a reputable source (preferably the essays I handed out to you) and include evidence from the films to back up everything you say.
What specific innovations in film style were developed in these two films? You may choose to speak about any films of your choice to compare, but be specific and thorough.
Germany during the 1920s went through many financial troubles as a result of the Treaty Versailles. They lost a large amount of land and were forced to pay reparations which crippled their economy. This caused a distrust of government and anti authoritarian views in Germany. Many people believe that German Expressionism “expresses the troubled state of the German national psyche after the war, or represents a retreat to Romantic despair” (White).
ReplyDeleteThe Cabinet of Dr.Caligari showcases this through the storyline which is “a powerful expression of the inherent tensions of the collective German psyche of the period - the fear that individual freedom will lead to rampant chaos which can only be constrained by submission to tyrannical authority” (White). The Cabinet of Dr.Caligari was based on Hans Janowitz Carl Mayer’s experiences as a soldier during World War I, which explains the dark, twisted reality that is presented in both the film and other films during this movement.
Nosferatu focus more on depicting “repressed forces as evil, their release cataclysmic” (Wood). By depicting Nosferatu, the Dracula equivalent, as grotesque, Mornau provides a contrast with Stoker’s Dracula, which was said to represent “all the sexual dreads that our culture has still not exorcised or come to terms with”. (Wood) By making Nosferatu unpleasant to the eye, the belief of repression not being without severe consequence is depicted visually. This repression is also depicted through the overall representation of Nosferatu, as Mornau “dramatizes the vampire quite explicitly in terms of repression: he is the repressed underside… of civilization” (Wood), similar to the feelings of Germans during this movement as they faced extreme repression from most of the world through the Treaty of Versailles.
The Cabinet of Dr.Caligari helped to develop the unrealistic reality of German Expressionism films and many modern horror films as well.“It is through the curved walls, oblique windows, slanting doors and strange radial patterns on the floor that the film establishes its nightmarish atmosphere” (Dietrich Scheunemann). Nosferatu helped to develop the use of cross cutting, by using it to imply a supernatural connection between the vampire and Nina and create contrasting tones. The film also uses light and shadows to create an ominous setting with a limited budget. Unlike The Cabinet of Dr.Caligari, the shadows in Nosferatu were tricks of light rather than props and this use of shadow is seen in many modern horror films in order to create a fear of the unknown.
(I didn't really understand what the last part of the question was asking)
"The Cabinet of Dr. Caligari" and "Nosferatu", both important films in the German Expressionist Movement, were produced in Germany during the 1920s. This point in history was a very difficult one for the German people. Coming right off of the first world war, Germany was in chaos. The Treaty of Versailles imposed incredibly harsh restrictions on the country that kept them economically devastated and without any military or strong leadership. Much of the country was in ruins and most of its people were living in poverty. It should be no surprise then that these same themes of instability and darkness found their way into the films such as these that existed as part of the German Expressionist Movement. As MB White states, "...this movement expresses the troubled state of the German national psyche after the war...". Examples of these dark, troubled themes can be found in the eerie atmospheres set in both films as well as the antagonists of each film: the character of Cesare in "The Cabinet of Dr. Caligari" and the vampire in "Nosferatu". Both of these characters are quite scary and their appearances and horrible actions add to the tones of the works.
ReplyDeleteThese films, as part of the German Expressionist Movement featured new and innovative film styles. Most of the locations and set designs, especially in "The Cabinet of Dr. Calligari" exist at odd angles and are highly stylized. These techniques have gone on to influence countless other works, such as "Edward Scissor hands"(1990), which features a very eerie and stylized mise en scene.
Authority is a prevalent topic in both The Cabinet of Dr. Caligari and Nosferatu. Both films were released during Germany’s postwar period of 1918-1924. During this period, German citizens were overwhelmed with “the fear that individual freedom will lead to rampant chaos which can only be constrained by submission to tyrannical authority” (White). The Cabinet of Dr. Caligari originally depicted the dangers of authority, but with the addition of Francis’ mental instability by Dr. Robert Wiene, it also depicts how authority can be beneficial. In fact, when Wiene took over the project, he “glorified authority and convicted its antagonist of madness” (Kracauer). These two conflicting views of authority reflected the conflict in Germany at the time, with the antiauthoritarian views of the Sozialdemokratische Partei Deutschlands (SPD) and the growing Nazi Party, which was guided by authoritarianism.
ReplyDeleteBoth films exhibit ideas of authority through the removal of autonomy and control over one’s own life. Authority in The Cabinet of Dr. Caligari is shown through Caligari’s hold on Cesare through hypnosis. Additionally, he has a tight grip on the town as they are all afraid of the murder and chaos that he has brought. Authority in Nosferatu is shown through Orlok’s vampirism. He has power over humans due to his ability to take their lives from them. His authority is presented in the film as he “becomes the dominant figure” (Wood) unlike his brief appearances in the original novel. However, after he is defeated at the end of the film, his castle is shown to be in ruins, indicating the end of his reign. Both Dr. Caligari and Count Orlok depict authority through their control over the lives of other characters and the panic they cause, similar to the panic in Germany at the time and fear of authority. Both films include scenes of Cesare and Orlok looming over their victims, shown only as silhouettes. Their depiction as shadow demonstrate how they are looming over everyone else, and the darkness evokes the feeling of being overpowered, or the idea of the unknown and the fear that comes with it.
Stylistically these two films, and German Expressionist films in general, were innovative in their unrealistic presentation of everything. Scenes were shot indoors, with very striking and histrionic sets, makeup, costume design, and more. In The Cabinet of Dr. Caligari specifically, the dramatized mise-en-scène exemplifies Francis’ madness and fear. German Expressionist films also feature noticeable chiaroscuro. A mentioned previously with the use of shadows in the two films, darkness is used to cast a shroud over everything, playing into our natural fear of the unknown. The basis of the German Expressionist style is still utilized today, most notably through horror films. For example, Paranorman, a film that is essentially an homage to previous horror films, clearly exhibits a style derived from German Expressionism. The absence of straight lines anywhere in the set design and the misshapen, crooked zombies highlight this. It also deals with themes of madness and authority, through the character Agatha and her fight against the town council as they accuse her of witchcraft. German Expressionist style and conventions are still visible in films today, especially around this time of the year.
The Cabinet of Dr. Caligari and Nosferatu were both made in the early 1920s, in a post-WWI Germany. The Cabinet of Dr. Caligari was written by Hans Janowitz and Carl Mayer. Janowitz fought in the war, and the experience gave him a distrust and hatred of absolute authority. Mayer shares these views, and this authority-subject relationship is reflected in the film. Cesare is blindly obedient to Dr. Caligari, the authority figure who compels him to commit crimes. This relationship between the two characters parallels the relationships between soldiers in the war and the country that was making them fight. “...[Janowitz and Mayer] had created Cesare with the dim design of portraying the common man, who, under the pressure of compulsory military service, is drilled to kill and be killed” (Siegfried Kracauer). Caligari was, itself, propaganda for the German Social Democratic Party’s antiauthoritarian doctrine. Apart from the intercharacter relationships, some set design of the film similarly offer relevance to the cultural context. More specifically, Caligari makes use of staircases so often that it becomes a motif. The placement of Dr. Caligari at the top of the stairs suggests his power, influence, and of course authority. “...in the lunatic asylum no less than three parallel flights of stairs are called upon to mark Dr. Caligari’s position at the top of the hierarchy” (Kracauer). Parallels can be drawn between this sociocultural context and that of Nosferatu. Nosferatu was made a couple years after Caligari, but reflects the same influence that war had on Germany. Count Orlock is a serious threat to the people of Germany, just like the Allies were in the war, because he takes his victims’ lives. The film shows Germany in a panicked, threatened state as they are struck with a dangerous plague. Both films reflect a war-torn, weak Germany under violent influence.
ReplyDeleteThe innovations in film style developed in these two films were characteristic of German Expressionism. Both Nosferatu and Caligari, being horror films, rely on shadows. In both films, exaggerated shadow silhouettes can be seen in scenes when Cesare or Count Orlock are towering over something, ready to kill their next victim. Characters of the films have heavy, stylized makeup, widening their eyes and making them look wild or disheveled. As per the aforementioned visual motif of staircases in Caligari, a lot of the stairs in this film are shrouded in darkness and lead to nowhere. This effect encourages a natural human fear of the dark or unknown. A similar effect occurs whenever Nosferatu emerges from a dark, shadowy room. Both films feature stylized titles, a staple of the German Expressionist movement in film.
In cinematic history, German Expressionism is the title given to films produced in Germany during the post World War I period. They often reflect or allude to the chaotic struggle of Germany during this post war period, pulling themes of darkness, instability, and poor leadership into the narrative. Germany was going through finical and political crises after the Treaty of Versailles blamed the country for the war, demanded reparations, and left the country without strong leadership or standing military. Films commented on the political turning point "...as a powerful experssion of the inherent tensions of the the collective German psyche of the period..." (White). Two of the most significant films from this period are "The Cabinet of Dr. Calagari" and "Nosferatu." The elaborate and almost absurdly dramatic mise-en-scene of these movies perhaps most blatantly portrays the sense of panic and instability that coursed throughout Germany during this time, the dark eye makeup and sharp, pointed imagery as examples. The painted sets reflect an alternate and very unsafe setting to everyday life, but that may have just been what it felt like walking around in German ruins. It has also been noted that "...the overall design scheme of the film creates a pervasive feeling of anxiety and terror" (White). The similar dark themes that connect the films to their time period are immediately tangible through the antagonists of each of these movies: Cesare from "The Cabinet of Dr. Calagari" and the Count Orlock in "Nosferatu."In "Calagari," Cesare is like Calagari's plaything, he does what ever he is told without batting an eye. This is a metaphor for the relationship between army and country in war, similar to Count Orlock in "Nosferatu."
ReplyDeleteThe innovations in film style, especially the highly stylized mise-en-scène, of German Expressionism has been very influential, globally, into even the modern century. The dramatic sets and deliberate use of bold shadows are used to this day in movies like Tim Burton's "Edward Scissorhands (1990)" and Woody Allen's "Shadows and Fog (1991)." Themes of anti-authority and instability that were so common in this film period are as popular as ever, even if they aren't within the same context of 1920s Germany.
Following the events of World War I, Germany faced deep rooted societal and economic issues. Germany lost the war, and as such became the scapegoat on which other countries shifted blame and war time costs. As such, Germany fell into a deep depression, with the economy falling flat in almost all facets except cinema. In fact, with post war depression came a new film movement, one which took advantage of this societal disarray to create meaningful commentary on the state of life within the country. This movement is known as German Expressionism, and can be characterized by its use of dark themes such as instability or chaos, reflective of the similar problems German citizens were facing on a daily basis.
ReplyDeleteTwo majorly influential films that arose during this period of expressionism are "The Cabinet of Dr. Calagari and "Nosferatu". Both of these films exhibit qualities commonly attributed to German Expressionism, that being dramatic utilization of mise-en-scene to create horrifying environments for their characters to traverse. The films emphasize dramatic scenery, with its sets being composed of rigid, dark shapes which seemingly come out of a nightmare. These film environments become the most blatant commentary on life in Germany during this time period, with it being "a powerful expression of the inherent tensions of the collective German psyche of the period" (White). To further this statement, these painted sets alluded to the state of life within a ruined Germany, one where it may have been difficult to feel safe, or even survive. This commentary on German society is furthered by the powerful antagonists present within each film, with both being foreign influences which create chaos and distrust in an already weak society. For instance, in “The Cabinet of Dr. Calagari”, a town is thrown into disarray when a group of murders occur, which are eventually linked to Dr. Calagari and his somnambulist. Dr. Calagari is an intruder within this society, whose influence becomes the driving force for the instability found within the small town. Dr. Calagari and his somnambulist parallel the power of foreign influences in Germany during the post war period, as these foreign countries became responsible for pushing an already weak country into freefall. This is no different with the film “Nosferatu”, as the main antagonist Count Orlok's visit to the town of Wisborg results in mass hysteria, with the very fabric of societal structure torn to shreds.
German Expressionism is known for its utilization of anti-realism, in that its films were composed of unrealistic set pieces with absurd geometric angles and painted shadows. This absurdity was reflected in the plots of these films, which often dealt with themes of madness, betrayal, or death. This moody and overall dark style of filmmaking became highly influential throughout the history of cinema, with its ideals even making its way into modern films such as “Pan's Labyrinth” (2006) or “Blade Runner” (1982).
ReplyDeleteIn “The Cabinet of Dr. Caligari” and “Nosferatu: A Symphony of Horror”, real issues taking place in Germany were metaphorically represented by the outlandish events of the films. Shortly before these films were produced, Germany had lost the First World War, and was forced to sign the Treaty of Versailles, putting the nation at a severe disadvantage in multiple ways. “The Cabinet of Dr. Caligari” was meant to represent Germany’s apparent need for conditioning to kill, as seen in the First World War, and later its sequel. In Siegfried Kracauer’s essay, “From Caligari to Hitler”, it was said, “The character of Caligari embodies these tendencies; he stands for an unlimited authority that idolizes power as such, and, to satisfy its lust for domination, ruthlessly violates all human rights and values. Functioning as a mere instrument, Cesare is not so much a guilty murderer as Caligari’s innocent victim....(Janowitz and Mayer) had created Cesare with the dim design of portraying the common man who, under the pressure of compulsory military service, is drilled to kill and to be killed.” Caligari clearly represented Janowitz and Mayer’s prediction of such a dictator and tyrant coming to and abusing the power of the state. Caligari manipulated Cesare into killing multiple innocent people in an attempt to obtain and test total control over the somnambulist, similarly to how Adolf Hitler ordered the deaths of thousands of innocent minorities as an extent of his power over Germany.
“Nosferatu: A Symphony of Horror” depicts a similar character with similar effects on those around him, though Nosferatu uses his control to victimize innocent people directly. Both Caligari and Nosferatu struck fear and panic into the hearts of the innocents around them and caused chaos as the acts of villainy were tried to be stopped, as it was thought could happen in Germany in this time period. However, in the ends of both films, antagonistic characters, whether or not they were the puppet master or the puppet, were shown incarcerated in insane asylums. As insane asylums often represent modern domestic totalitarian power, it could be inferred that the capture of these controlling or mindless villains represents the hope that such evils that could arise in Germany would be stopped and placed under a watchful and lawful eye.
New film techniques were shown in each film, as “The Cabinet of Dr. Caligari” showed the use of painted sets to make the settings appear larger, more dramatic, or more disorienting. In “Nosferatu: A Symphony of Horror”, the use of excessive makeup and special effects(e.g.; Nosferatu’s rising with a cord, a door opening/closing with the use of a cord, etc.) were used to horrify and concern the audience.
Post World War 1, Germany's economy was in shambles. The losing country, they had to abide to many restrictions set by the the allied states, such as the abolishment/restriction of the military, or the reperations they had to pay. These restrictions were only a few mentioned in the Treaty of Versailles, signed in 1919 - The Cabinet of Dr. Caligari would be realeased in 1920, and Npseratu in 1922. As a result, these films reflect the chaotic atmosphere of Germany at this time - distrust of authoritarian figures and heightened tensions and fears are displayed unnatural sets/makeup and the plotlines the films present.
ReplyDeleteThe Cabinet of Dr. Caligari tells the story of a crazed doctor who used a sleepwalker to carry out his evil deeds. Though the narrator is revealed to be unreliable at the end, the core of the film is still about what happens when powerful figures gain even more control; "Caligari...stands for an unlimited authority that idolizes power...ruthlessly violates all human rights and values" (Kracauer). Caligari's own desires causes him to disregard the rights of others, making him a truly dangerous man. This film also was the first to utilize and develop the highly stylized mise en sceen that German Expressionism would become known for - painted shadows that seemed to swallow characters up, entirely micro-managed indoor sets, and sharp angles and edges reflecting the chaotic mindset and fears of Germany, aiding to invoke mood in the film as a whole.
Nosferatu is a more traditional monster story, an adaption of Dracula about an aristocrat vampire that terrorizes a German city. The film also gives a take around what happens when a singular evil gains power, as Nosferatu strikes fear and brings death upon the helpless people of Wisborg. This film, though less obviously stylized, still relies heavily on creating shadows and unnatural makeup to emphasize horror and fear. Additionally, though not the first film to place a woman in a heroine position, Nosferatu is unual in that it is the woman's own decision and sacrifice that ultimately saves the day.
Both of these films were made during the timeframe directly following WW1. Germany was at an incredible loss and the end of the war, and the post war expenses only added to this loss in Germany. During this time period, chaos and the mistrust of authority were common in Germany. These films, part of the German Expressionist movement, very clearly highlight these struggles. In both of these films “The Cabinet of Dr. Caligari” (1920, Weine) and “Noseferatu” (Mernau, 1922),were part of the German Expressionist movement. They are both dark films with chaos and clear opinions about authority figures.
ReplyDeleteIn “The Cabinet of Dr. Caligari”, regardless of the unreliable narration, Dr. Caligari himself is portrayed as a crazed authority figure. Although Hitler did not come to power for another 10 years, the state of Germany’s political structure was chaotic and resembled a crazed central authority. Germany during this period was struggling to reconstruct their political structure and economy, and they were angry and started to disobey the Treaty of Versailles and laws in place. This is similar to how Dr. Caligari is crazy and disregards the laws in place (i.e. not killing people). It could also be said that the filmmakers negative feelings about a totalitarian rule manifest themselves in their portrayal of Dr. Caligari. Germany was, as stated, in shambles, and this was the perfect opportunity for someone to take charge and rise up. Janowitz, who co-wrote Caligari, felt that “absolute authority was bad in itself” (Kracauer). This is shown in the film, as Dr. Caligari has complete control over the sleepwalker, but only abuses this power.
“Noseferatu” is a similar film. We have a sort-of authority figure who puts people in danger (the real-estate boss), and dark imagery. I think that this film better expresses the the darkness present in this time period. It not only portrays dark images, but the film itself is quite dark, discussing vampires and having scary images. This is basically what the German Expressionist movement was about. Dark themes and images, shape contrast, with a very well developed misé en scene.
The Cabinet of Dr. Caligary, and Nosferatu, are two films which are the epitome of films being a product of their environment as well as the time of which they were made. Being made in post war Germany, the country was going through great hardship as they were made to take full blame for World War 1. The German people shared in a collective feeling of anti government, and feelings of isolationism were at a high. The Cabinet of Dr. Caligary reflects the anti authority notion in Germany, with the authority figure of Dr. Caligary portrayed as a well meaning doctor at the end of the film, and the narrator an asylum patient. These characters may serve as metaphors for the governments of the countries that put the blame on Germany in the form of Dr. Caligary, and the German people are represented through the insane narrator. The narrator has no control of his situation, and believes his story to be true. There is a parallel between the German people who are suffering during this time and the asylum patient. The same can be said about isolationism and the themes of Nosferatu. The narrative follows a native German and the consequenses of meeting a foreigner, a vampire. These negative sentiments reflect isolationist ideas. The film expresses these ideas by having Germany look nice and clean, while the exterior shots of Transylvania are stark and not as clean looking. Other than the themes of isolation, Nosferatu captures the sentiments of the era in which the original source material was written. In an article by Films 4th Edition, the article explains how Bram Stoker’s novel was written “at the height of Victorian sexual repression”, and the film draws from this. Count Orlock’s desire for Hutter’s wife and blood can be seen as a metaphor for this era of sexual repression. The parallels are very appearant in the narrative of the film.
ReplyDeleteThe 1920s is when these two films came out. This period was when Germany was in a deep economic depression because of the treaty of Versailles post WW1. This is portrayed by the two films by being very dark and dreary and this is how the citizens of Germany felt all the time. More specifically in Dr Caligari the whole town was kind of like poverty except for few select places the mansion of the women and the mental institution with both looked very nice. Also I think it had to with commenting on the leaders of the time because in Caligari it is a asylum patient telling a story of how evil the ward owner is trying to say how Evil the leaders of the time were. Also this theme is covered In Nosferatu where a higher up is seen as evil so in both movies a leader is seen as evil. Nosferatu also again is a very dark and dreary movie. Caligari helped give German expressionism the feel of unrealism which is a part of the entire movement so it influenced many movies to come. “more of a mindset that had social, cultural, and political aspects” this quote really sums up how German expressionism was used during the time it was popular.
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