Relevant bibliographies by topics / Expressionism – cinema

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Expressionism – cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Expressionism – cinema"

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Thomas Croft, Andrew. "Expressionism in the Cinema." Historical Journal of Film, Radio and Television 37, no. 2 (2017): 347–49. http://dx.doi.org/10.1080/01439685.2017.1280234.

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Hillenbrand, Margaret. "Chromatic expressionism in contemporary Chinese-language cinema." Journal of Chinese Cinemas 6, no. 3 (2012): 211–32. http://dx.doi.org/10.1386/jcc.6.3.211_1.

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Burke, Andrew. "From Weimar to Winnipeg: German Expressionism and Guy Maddin." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 59–79. http://dx.doi.org/10.2478/ausfm-2019-0004.

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Abstract The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory ab
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Johnson, Sheila K., and Paul Coates. "The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror." German Quarterly 68, no. 1 (1995): 85. http://dx.doi.org/10.2307/408036.

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Burns, R. "The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror." German History 10, no. 3 (1992): 445–47. http://dx.doi.org/10.1093/gh/10.3.445.

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Schindler, Stephan K., and Paul Coates. "The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror." German Studies Review 16, no. 1 (1993): 122. http://dx.doi.org/10.2307/1430248.

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Stojanova, Christina. "German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 35–58. http://dx.doi.org/10.2478/ausfm-2019-0003.

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Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the e
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Solomkina, T. A. "Infl uence of German Expressionism on Synthesis of Theatre and Cinema in S. M. Eisenstein’s Works." Университетский научный журнал, no. 43 (2018): 91–96. http://dx.doi.org/10.25807/pbh.22225064.2018.43.91.96.

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Gavaris, Peter. "The Horror of the Real: Filmic Form, The Century, and Fritz Lang's M." Dianoia: The Undergraduate Philosophy Journal of Boston College 6, no. 1 (2019): 19–28. http://dx.doi.org/10.6017/dupjbc.v6i1.11731.

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It is not surprising that film became the dominant art form of the twentieth century. The promise of a medium that could capture life in motion proved exciting, though soon after its conception, debates cropped up pitting the merits of realism against those of expressionism. Should a medium predicated on recording life adopt expressionistic sensibilities? Writing on the burgeoning cinema, Walter Benjamin seemed to imply that film carried with it a distinctly political responsibility to show life as it really is. In attempting to rethink this argument, I argue for the political potential of an
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Burns, R. "Book Reviews : The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror. By Paul Coates. Cambridge University Press. 1991. xiv + 287 pp. 30.00." German History 10, no. 3 (1992): 445–47. http://dx.doi.org/10.1177/026635549201000331.

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Dissertations / Theses on the topic "Expressionism – cinema"

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Zanatto, Rafael Morato. "Luzes e sombras : Paulo Emilio Salles Gomes e a cultura cinematográfica (1954-59) /." Assis, 2013. http://hdl.handle.net/11449/108470.

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Orientador: Carlos Eduardo Jordão Machado<br>Banca: Áureo Busetto<br>Banca: Pedro Plaza Pinto<br>Resumo: A presente dissertação investiga a atividade intelectual e política do crítico de cinema Paulo Emilio Salles Gomes na década de 1950. Analisando o projeto político-pedagógico da Cinemateca Brasileira, compreendemos que Paulo Emilio pautou-se no conceito de cultura cinematográfica para embasar a atividade da instituição no intuito de formar no Brasil um público crítico, capaz de compreender diferentes obras da cinematografia mundial em sua totalidade expressiva. Pensando o cinema enquanto li
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Verga, Fernando Henrique Bononi. "A influência do romantismo no cinema expressionista alemão." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/156010.

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Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-13T15:18:05Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.docx: 9189974 bytes, checksum: 29339496b1219b1498511af60925970d (MD5)<br>Rejected by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: 1 - O formato do arquivo deve ser em PDF. Agradecemos a compreensão on 2018-09-14T12:59:08Z (GMT)<br>Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-14T18:24:38Z No. of
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Zanatto, Rafael Morato [UNESP]. "Luzes e sombras: Paulo Emilio Salles Gomes e a cultura cinematográfica (1954-59)." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/108470.

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Made available in DSpace on 2014-08-13T14:50:39Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-08-02Bitstream added on 2014-08-13T18:01:31Z : No. of bitstreams: 1 000746275_20170808.pdf: 287863 bytes, checksum: 71d3478d87be20df0fae4035f6723e27 (MD5) Bitstreams deleted on 2017-08-11T12:08:17Z: 000746275_20170808.pdf,. Added 1 bitstream(s) on 2017-08-11T12:09:12Z : No. of bitstreams: 1 000746275.pdf: 2037906 bytes, checksum: 8f9b3c46d57788482279240b4d892dc1 (MD5)<br>A presente dissertação investiga a atividade intelectual e política do crítico de cinema Paulo Emilio Salles Gomes na dé
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Gonçalves, Fábio Tibúrcio. "Arquitetura de ruínas: delírio e devaneio na construção do espaço trágico em lavoura arcaica." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3808.

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Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-12-16T19:30:58Z No. of bitstreams: 2 Dissertação - Fábio Tibúrcio Gonçalves - 2013.pdf: 1359832 bytes, checksum: a27ff66bc096d03366373568e98a717f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-12-22T10:29:25Z (GMT) No. of bitstreams: 2 Dissertação - Fábio Tibúrcio Gonçalves - 2013.pdf: 1359832 bytes, checksum: a27ff66bc096d03366373568e98a717f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306
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Nardi, Taís de Andrade e. Silva. "Imagens do Desvario: narrativa visual de estados alterados de percepção." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-160315/.

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A presente pesquisa investiga como os elementos visuais ao dispor dos cineastas podem contribuir para a representação de estados alterados de percepção no cinema, de modo a ampliar a discussão sobre a expressividade do trabalho de direção de fotografia. Por meio da análise e interpretação de três filmes brasileiros que apresentam personagens fora de si e construções visuais contundentes - Estorvo (2000), de Ruy Guerra, Filme de Amor (2003), de Júlio Bressane e A Concepção (2005), de José Eduardo Belmonte -, a pesquisa discute de que maneira as características da imagem podem contribuir para a
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Williams, Tomas Rhys. "Tricks of the light : a study of the cinematographic style of the émigré cinematographer Eugen Schüfftan." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3598.

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The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subse
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Gassin, Alexia. "L’œuvre de Vladimir Nabokov dans le contexte de la culture et de l’art allemands à l’époque de l’expressionnisme." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040225.

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Les études nabokoviennes témoignent de la tendance à laisser de côté la possibilité de l’influence de la culture allemande sur l’œuvre de Nabokov. Ce principe est surtout né des propos mêmes de l’écrivain qui insista à maintes reprises sur le fait que, bien qu’il vécût en Allemagne, il ne savait pas parler allemand et évitait tout contact avec l’univers allemand. Il est vrai que l’émigration russe à Berlin représentait un État dans l’État. Cependant, les frontières entre les mondes russe et allemand n’étaient pas si étanches. Nabokov passa quinze ans à Berlin et ses livres furent traduits et p
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Pinent, Antoni. "Dreaming “Macbeth’s film Project”. La práctica artística como investigación. Proceso de construcción del proyecto cinematográfico “Macbeth / The Empire State” y su contextualización." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/374246.

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El trabajo que aquí se presenta trata de dar cuenta del trayecto frustrado a lo largo de más de un lustro. La intención inicial era tratar de poner en pie un proyecto de largometraje cinematográfico, para que éste se convirtiera en objeto de estudio para el trabajo de tesis. Viéndose frustrado en varios intentos en su pre-producción, y llegando a las fechas establecidas para la conclusión y la entrega de la tesis, lo que se incluye aquí es el trabajo realizado hasta el momento durante ese camino. En éste se traslada el recorrido establecido desde la primera idea, su particular casting, el cont
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Iannone, Pasquale. "Childhood and the Second World War in the European fiction film." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5654.

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The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of
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Eble, Tamara. "Regards sur le cinéma expressionniste, regards du cinéma expressionniste : esthétique et réception par la critique de cinéma allemande de Weimar." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN085/document.

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Fondée sur un corpus de huit films allemands réalisés entre 1919 et 1924 (Das Cabinet des Dr. Caligari, Genuine et Raskolnikow de Robert Wiene, Algol de Hans Werckmeister, Von morgens bis mitternachts et Das Haus zum Mond de Karlheinz Martin, Torgus/Verlogene Moral de Hanns Kobe et Das Wachsfigurenkabinett de Paul Leni), cette étude porte sur l'esthétique et la réception du cinéma expressionniste, dont l'étiquette fait aujourd’hui encore l'objet de confusions. Pour identifier des traits constitutifs de son esthétique, trois axes sont envisagés : la réception critique, l'esthétique fantastique
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Books on the topic "Expressionism – cinema"

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Forme dell'espressionismo nel cinema. Aracne, 2009.

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Bertetto, Paolo. Incontro ai fantasmi: Il cinema espressionista. Centro sperimentale di cinematografia, 2008.

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Coates, Paul. The Gorgon's gaze: German cinema, expressionism, and the image of horror. Cambridge University Press, 1991.

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The Gorgon's gaze: German cinema, expressionism, and the image of horror. Cambridge University Press, 1991.

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The haunted screen: Expressionism in the German cinema and the influence of Max Reinhardt. University of California Pr., 2008.

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Tone, Pier Giorgio. Espressionismo tedesco: La breve grande stagione del cinema degli anni Venti analizzata nei suoi procedimenti tecnico-formali. D. Audino, 2009.

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Espressionismo tedesco: La breve grande stagione del cinema degli anni Venti analizzata nei suoi procedimenti tecnico-formali. D. Audino, 2009.

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Kurtz, Rudolf. Expressionnisme et cinéma. Presses universitaires de Grenoble, 1986.

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Cinéma, imaginaire, ésotérisme: Murnau, Dreyer, Tourneur, Lewin. L'Harmattan, 2003.

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100 years of Indian cinema: Artist expressions - paintings, sculptures, and installations. Sarjan Art Gallery, 2013.

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Book chapters on the topic "Expressionism – cinema"

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Wansbrough, Aleks. "Lars von Trier and German Expressionism: Understanding von Trier’s Transnational Appeal." In Transnational German Cinema. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72917-2_10.

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Finocchiaro, Francesco. "Cinema and Expressionist Drama." In Musical Modernism and German Cinema from 1913 to 1933. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58262-7_3.

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Baron, Cynthia, and Yannis Tzioumakis. "Key Expressions in the Independent Cinema Era." In Acting Indie. Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-40863-1_7.

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Yang, Li. "The World of Psychological and Symbolic Complexity: The Expressionist Style." In The Formation of Chinese Art Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97211-4_7.

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Cooke, Paul. "From Caligari to Edward Scissorhands: The Continuing Meta-Cinematic Journey of German Expressionism." In World Cinema's 'Dialogues' with Hollywood. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230223189_2.

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"2. Germany - Beyond ‘Expressionism’." In Silent Cinema. Columbia University Press, 2017. http://dx.doi.org/10.7312/napp18118-004.

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"25. Cinema from Expressionism to Social Realism." In The Weimar Republic Sourcebook. University of California Press, 1994. http://dx.doi.org/10.1525/9780520909601-030.

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Ahmed, Omar. "Popular Narratives." In Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0002.

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This chapter discusses the cinema of Raj Kapoor. Raj Kapoor's key role in helping to popularise Indian cinema proves to be a worthy starting point in tracing the origins and development of popular narratives and genres. The Kapoor dynasty was paramount in the evolution of mainstream Indian cinema. Indeed, the international success of Awaara (The Vagabond) in 1951 marked the beginning of a decade that would produce some of Indian cinema's most memorable films. The chapter considers a range of areas, comprising of Raj Kapoor's status as an auteur, ideological representations, visual styles ranging from noir to expressionism, the use of song and dance as a narrative tool, and the film's relationship with the wider context of post-partition India under the leadership of Jawaharlal Nehru.
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Morrison, Benedict. "Articulation in Ruins." In Complicating Articulation in Art Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894069.003.0002.

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This chapter challenges the critical tradition that has interpreted the formal disjunctures of Roberto Rossellini’s Germania anno zero (1948) as representative of its young protagonist Edmund. The film’s complicated formal experiments—including in cinematography, editing, and sound design—have been read as expressions of the child’s distress as he struggles to survive in post-war Berlin. This criticism, however, cannot account fully for the film’s disjunctive transitions between documentary realism and expressionism. This chapter argues that year zero is a space in which all stabilizing definitions are thrown into disorientating contingency, and the clash between styles marks this unsettledness. In such a historical moment, Edmund is unable to articulate himself, and the film’s formal ruptures do not speak clearly for him. The form cannot be explained through reference to a character who is outside explanation. The film records an eccentric moment in Germany’s history, in which meaning is out of reach.
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Doerre, Jason. "The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs." In ReFocus: The Films of Paul Leni. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474454513.003.0003.

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This chapter explores the influence of literary naturalism on German Expressionist cinema as reflected in Leni’s 1921 film Backstairs, co-directed with Leopold Jessner. As this chapter suggests, Backstairs is a continuation of the styles of literary naturalism, a tendency frequently taken up in German cinema of the 1920s. Although specific visual elements of the film demonstrate an expressionistic impulse, other aspects including milieu and story are clearly leftovers of the literary naturalism of the pre-war period. Using Backstairs as a case in point, this contribution counters the overemphasised focus on expressionism in Weimar-era films by highlighting the multivalent styles present throughout this period. Taking into consideration the film’s set, story, acting, and direction, this chapter provides a close examination of a film often overlooked among the classics of Weimar cinema.
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Conference papers on the topic "Expressionism – cinema"

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Vale, Luciano Nunes do. "EXPRESSIONISMO NO CINEMA: O GESTO COMO ALEGORIA." In VIII Semana de Orientação Filosófica e Acadêmica. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/phipro-sofia-023.

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