expression in the destabilization of the subject at the center of the narrative…” (Hake‚ 2002: 31). In light of the following observation by Hake‚ this essay will be looking at her statement and how it can be applied to the 1920 film The Cabinet of Dr. Caligari within the boarders of German Expressionisim. To better illustrate my argument I shall be looking at key scenes in the film and analyzing them in detail. This analysis will hope to demonstrate the link between the observation made by hake
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Art Imitating Life? In his assessment of The Cabinet of Dr. Caligari‚ (1920)‚ Noel Burch describes the film as a play on “carefully contrived ambiguity‚” (Burch‚ 174). The spectator of the film‚ the audience is both drawn in as a participant‚ a “motionless voyager” (Bordwell‚ 96‚ quoting Burch) forced to imagine their own dialogue‚ action‚ and expression‚ and then all at once‚ harkened back to severe reality with contrived moments. This play between audience immersion and expulsion from the film’s
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films of the 1930s and film noir of the 1940s.” The influence that Elsaesser is referring to is of great importance to both film noir and horror films. This influence can be seen simply through looking at Robert Wiene’s exemplary film‚ The Cabinet of Dr. Caligari (1921)‚ and its astounding influence on both film noir and horror films‚ looking at the example of Alfred Hitchcock’s Psycho (1960). The time period between the German Expressionist and film noir styles also reveals much of the reason for
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Two of the earliest examples of German Expressionism in film‚ The Cabinet of Dr. Caligari and Nosferatu are classics remembered as some of the best horror films of all time. These two films‚ directed by Robert Wiene and F.W. Murnau respectively‚ share several key aspects in common‚ while still retaining their own uniqueness that has left people debating which film is paramount‚ even nearly a century after their releases. This paper will examine these similarities and differences‚ and will seek address
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KISAPMATA: Plot Segmentation 1. Credits 2. Family discussion with Mila and her parents (Sunday‚ November) A. Mila asked his parents’ permission to get married with Noel B. Mila was 2 months pregnant C. Father was angry but still consented the marriage 3. Noel and Mila’s father finally met 4. Noel and his father went to Mila’s house to ask for her hand A. They discussed the plan for the wedding (when and where) B. Noel and his father was speechless when Mila’s
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Plot Segmentation: The Prestige C. Credit title. 1. The Pledge. a. Borden’s workshop. i. Mr. Cutter picks up a bird and shows Jess. b. The Great Danton. i. The theater curtain rises revealing a massive electrical machine on stage with Angier. ii. Borden and other members of the audience inspect the machine. iii. Borden goes backstage. iv. Angier takes off his jacket in preparation for the trick. v. Borden runs downstairs below the stage and sees a blind man sitting guard.
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Carlo Rebaza Intro to Film Studies 101 July 5‚ 2011 Assignment #5 In “The Cabinet of Dr. Caligari”‚ the people in Francis’ story are all fictional characters and produced by the condensation of two or more people. For example: Jane‚ Cesare‚ and Dr. Caligari. Many of the physical features of these characters are derived from patients and staff at the hospital and they received many traits of people from his past. These fellow patients‚ who are encountered later at the end of the film‚ were
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Sherlock Jr. (Buster Keaton‚ 1924‚ 44m) Plot Segmentation I. Opening Title Cards A. Joseph M. Schenck presents Buster Keaton in “Projectionist”‚ A Metro Attraction B. Directed by Buster Keaton C. Story by Jean Havez‚ Joe Mitchell and Clyde Bruckman‚ Photography by Elgin Lessley and Byron Houck‚ Art Director‚ Fred Gabourie‚ Electrician‚ Denver Harmon D. Distributed by Metro Pictures Corporation‚ Controlled by Loew’s Incorporated E. Passed by the National Board of Review II. Act One A.
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German Expressionism: “Nosferatu” vs. “The Cabinet of Dr. Caligari” German expressionism is a movement that started post World War 1‚ and before the Second World War. It used a unique technique of shadowing and distinctive camera angles. The films during the movement told stories that mimicked the forbidding reality of the German’s life. For example‚ in “The Cabinet of Dr. Caligari‚” the set design was painted to get the specific diagonals and claustrophobic atmosphere. Throughout the film‚ the
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Kracauer criticises Caligari for its place in a period of German “studio constructivism”‚ where a false world would be created to preserve the collective “German soul” from true‚ incalculable reality. This assertion‚ however‚ suggests that the intention of the film’s production was akin to wartime propaganda and a deliberate‚ sinister choice. The reality may instead have been that a studio production suited the style of the film far better‚ and as can plainly be seen by any viewer of the final film
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