'German Expressionism In Bride Of Frankenstein'

The camera angle in addition to the shadows and lighting creates a claustrophobic atmosphere, almost making the viewer feel as if they are trapped in the room with the two characters. In this scene, Weine additionally intended to paint the floor and parts of the wall of the setting in high-hued tone to distinguish the accentuated light from the normal one on which the main character may stand in scene. He did so to keep the audience fascinated as well as making them concentrate on the highlighted position.
In years to come, distinctive sorts of German Expressionist settings were introduced that affected later artistic advancements. With the release of the last Expressionist film Metropolis, the Expressionist movement came to an end. The two
German Expressionism diverted through movies, for example, Bride of Frankenstein reflected numerous parts of society clear amid the Depression.
"The creatures were really animals with souls and human longings, that underneath the equation plots, these characters spoke to society's rejects who were attempting to assert some authority in a world in which they had no spot." (Weaver, 1990, p. 4). Indeed the crowd in Bride of Frankenstein could be compared to "an irritated masses lashing out in dissatisfaction against the Depression – and the man they saw as not interested in their predicament, Herbert Hoover." (Matthews, 2009, p. 33). In spite of the stylish and topical similarities, Universal succeeded in making an arrangement of remarkable silver screen classics that whilst unmistakably educated by German Expressionism, remained all alone as a headway of Hollywood class film and as an impression of a country rising up out of money related
After he lurches onto the casket, he is still splashed in overhead light streaming from some obscure overhead light source.”( James Whale's Use of Lighting in Bride of Frankenstein 02.23.2011). It seems as if though the light is entering through some sort of a window but there is none visible in the scene. This inability to place the actual light source is an alternate marker that Frankenstein is associated with the divine. “The top of the tomb, which is only revealed through shadows, splits the light into beams reminiscent of the clouds opening to shine on God’s chosen follower. The following cuts place a heavy side light on the monster while he interacts with the enshrouded female corpse.”( James Whale's Use of Lighting in Bride of Frankenstein, 02.23.2011) The overhead lighting throws shadows from Frankenstein’s fingers over the shrouded face of the deceased woman, whose cover takes after a wedding veil. The utilization of lighting connotes a kind of marriage for Frankenstein, who is in the vicinity of God as he reinforces his motives of