Dr. Caligari as German Expressionism
The German Expressionist cinema began in 1919 and was itself essentially an opposite of Impressionism. While Impressionism dealt more with giving an outward impression of an object, Expressionism sought to induce the emotional feel an object invokes on itself. Seemingly most often, Expressionist art is more about the artist than the subject. More importantly, however, is the fact that all definitions of "Expressionism" describe it as a theory of art that expresses feelings in an abstract way. The world may still be confusing, but some answers are found. Created by a people in effect displaced within their own country and society, German Expressionist films portray their own sense of displacement. It is not surprising then, that German Expressionism came to dominate horror and artistic cinema in the silent era. German Expressionism was more innovative and influential than any other film genre in the 1920's. It opened new doors to the possibilities of filmmaking, and the places an audience could be carried by them.German filmmakers began to create sets that personified the inner feelings of the characters set within them. The audience was able to visually identify the essential feelings of the action taking place because the
The Expressionistic influences extended further, into the make-up and some of the acting. Most obviously associated with this fact was Conrad Veidt as Cesare. Wearing a black body-stocking and make-up of black and white face paint, he looks quite creepily like the forefather of the Gothic subculture. Dr. Caligari used startlingly distorted set design and make-up to create a warped reality. For instance, the buildings and the many objects around them had ominously sharpened edges. Those features subtly remind one of the stabbings Cesare carries out at the bidding of Dr. Caligari. More over, they convey a pervading sense of danger and evil throughout the city. This could in fact portray the paranoid worldview of the narrator. There are, however, two areas where these sharp lines are comparatively absent: Jane's house and inside the insane asylum. These settings where more rounded designs are seen are places comfort and normality should exist but are both threatened in the inner story. And when Francis is waiting in the center of the alternating black and white design in the middle of the floor, the scene looks very much like an Expressionistic painting. In fact, most of the film is shot in these medium long shots allowing nearly the entire set to be seen and the entire frame open to be investigated. There is a general lack of camera movement and very little editing within scenes that often adds to the overall mysteriousness of scenes. For instance, the shot of Cesare coming into Jane's be
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