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Fritz Lang and The German Expressionism PDF Print E-mail
Written by Mirza Jaka Suryana   
Thursday, 12 June 2008 07:00

Fritz Lang is regarded as one of the main directors in the early history of film. As a representative of expressionism in the 1920’s, he has made some of the most important German silent film. During the repression of German Nazi party, he left to the United States. There, Lang become one of the founders of film noir genre. Many directors such as Luis Bunuel and Alfred Hitchcock refer to his works.

 

Expressionism in film emerged from 1919 to 1924. The genre was a very German invention, which parallels in painting, literature, theater and architecture. Before the birth of social realism, genre of expressionist films has a powerful influence in the world’s history of film. Film noir and classical horror films in America during 1940’s to 1950’s can’t be develop without the birth of expressionism. The genre influence can be feel too in the senses of contemporary directors such as Werner Herzog or Reiner Werner Fassbinder, as well as David Lynch, Peter Greenaway, Derek Jarman and Jim Jarmusch.
The genre of expressionist films are full with horrible fantasies. The classical expressionist films with their eccentric topics such as madness, personality division, hypnosis, visions of future, mostly play in the middle of a cubistic designed scenery.
One of the most prominent German expressionist filmmakers is Fritz Lang. Certain names are worth to mention such as Robert Weine, Friedrich W. Murnau, Carl Meyer and Paul Leni. Neverthelss, Fritz Lang has his own stylistic. His great faith in the immense and massive theatrical stage describe clearly in his everyworks. If willing to compare, Lang’s works almost akin to the works of D.W. Griffith such as Intolerance or The Birth of a Nation.
Fritz Land was born in Vienna, 1890. He studied art and painting in Vienna, Munich and Paris. In 1918, he went to Berlin, where he gave his directorial debut with the silent film, Halbblut. The film was made in only five days. Together with his wife, the novelist and actress Thea von Harbou, he wrote many screenplays for silent films, including, Der mude Tod (1921). With this film, Lang started the series of his silent films. He made a stylistic breakthrough with this work. Expressionist elements in visual and set design, together with dramatic use of lighting were thereafter seen as Lang’s trademarks.
From this earlier films of his, Lang transferred his predilection for the romantic and the mystical. The emotional atmosphere makes the film memorable, especially with the presentation of Death. For Lang, Death is full of compasion and helpful for the lovers.
The elaborate and for the time very advanced animation elements in Der mude Tod set the standard for fantastic films genre. The flying carpet, the souls of the dead ghostly walk through walls and pagoda that transformed into elephant are the instances for visual effect in this film of Lang.
Nevertheless, as a director, Fritz Lang worldly success, achieved when he made Metropolis (1927) and M: Eine Stadt sucht einen Morder (1931). M is Lang’s first sound film, a disturbing story about a child murderer in Berlin. Apart from its success, these two films brought the production company Ufa, to the brink of ruin because of the huge amount of extras and settings, as well as the players.
After the Nazi came into power, Lang left Germany like many other Jewish artists. He became a US citizen in 1935. In Hollywood, he produced 22 films, more than half of his entire works.

 

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akbar   |125.166.36.xxx |2008-10-08 21:42:23
tapi sebenernye ekspresionis itu apaan sih?? apa serem2 doang, juga harus di baca konteks jerman pada saat kedisanaannya (konteks), kalah perang, inferior, sebenarnya aku sih ga setuju ada istilah ekspresionis pada film2 jerman pada masa itu, karena masih menyisakan moral state, bukan subyek reflection yg sebenarnya lebih deket ke ekspresionis, udah deh tuh buku sejarah teori film jangan di percaya lagi!!!!!!
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