Overview

One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), and also provide original critical research into more obscure titles like Nerven (1919) and The Phantom Carriage (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico. An innovative and wide-ranging collection, Expressionism in the Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.

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9781474425872

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"""The essays in Brill and Rhodes Expressionism in the Cinema not only extend the scholarship on Expressionist films, though that, in itself, would be ample contribution. They also capture the essence-the imagery, the irony, the worldview-that animates these films, and create thoughtful connections to wider social and cultural processes."" -- Cynthia Miller, Emerson College ""Expressionism in the Cinema is itself a production of variegated efforts. It is diverse. It is polytechnic. It ranges from the purely Expressionistic production to the margins of Expressionistic influence. It combines fine critical insights with imaginative intellectual linkages. In this manner, the authors do in fact achieve an authoritative appraisal of Expressionist cinema, both within and without Germany."" -- Andrew Thomas Croft, Forest Independent Primary Collegiate, Historical Journal of Film, Radio and Television"

The essays in Brill and Rhodes Expressionism in the Cinema not only extend the scholarship on Expressionist films, though that, in itself, would be ample contribution. They also capture the essence-the imagery, the irony, the worldview-that animates these films, and create thoughtful connections to wider social and cultural processes. -- Cynthia Miller, Emerson College Expressionism in the Cinema is itself a production of variegated efforts. It is diverse. It is polytechnic. It ranges from the purely Expressionistic production to the margins of Expressionistic influence. It combines fine critical insights with imaginative intellectual linkages. In this manner, the authors do in fact achieve an authoritative appraisal of Expressionist cinema, both within and without Germany. -- Andrew Thomas Croft, Forest Independent Primary Collegiate, Historical Journal of Film, Radio and Television Whoever reduced Expressionism to German silent cinema so far, will be positively surprised by the multifariously told colourful mixture of international texts. -- 35 millimeter Retro-Filmmagazin

The essays in Brill and Rhodes Expressionism in the Cinema not only extend the scholarship on Expressionist films, though that, in itself, would be ample contribution. They also capture the essence-the imagery, the irony, the worldview-that animates these films, and create thoughtful connections to wider social and cultural processes. -- Cynthia Miller, Emerson College

Author Information

Olaf Brill is a German-based freelance writer and editor for film institutes, museums and festivals, including the German Film Institute DIF, Frankfurt, the Filmmuseum Berlin, and CineGraph, Hamburg. Gary D. Rhodes, Ph.D., currently serves as Postgraduate Director for Film Studies at the Queen s University in Belfast, Northern Ireland.

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