G ERMAN E XPRESSIONISM 2: M ETROPOLIS Lecture 13.

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Presentation transcript:

G ERMAN E XPRESSIONISM 2: M ETROPOLIS Lecture 13

E XPRESSIONISM VS. I MPRESSIONISM Both are interested in representing interiority Impressionism grounds itself ultimately in the objectivity of the external world: “A real world exists” – Two kinds of subjectivity: A) perspective of a character in the form of a flashback, hallucination, dream B) perspective of a character pervades everything Expressionism eschews objectivity altogether – externalizes inner feelings in the mise-en-scene – it prefers the second kind of subjectivity (B) – Thus, it confuses the subjective and the objective

T HE A SYLUM Inside the framing-storyOutside the framing-story

W HAT ARE THE STYLISTIC FEATURES OF EXPRESSIONIST FILM VS. IMPRESSIONIST FILM ? Impressionism 1.Mise-en-scene/pro-filmic: naturalistic Location/outdoor shooting 2. *Innovates in the area of camerawork (i.e. the enframed image): Superimposition Distortions Masks Filters Soft focus Mobile camera Variety of angles and heights 3.Transforms image of nature using photographic means: defamiliarizes nature: photogénie 4.*Innovates in the area of editing Continuity based on graphic, rhythmic, associative, connotative relations between shots Expressionism 1.*Innovates in the area of mise-en- scene (i.e. the pro-filmic) Sets: artificial not natural Costumes Props Acting lighting 2.Enframed image/camerawork Unobtrusive Stationary camera Eye-level Straight-on angle 3.Replaces the image of nature with art: substitutes for nature 4.Editing Unobtrusive Continuity o Shot/reverse shot o Cross-cutting

F ROM M ENILMONTANT : CAMERAWORK AND GRAPHIC, RHYTHMIC, ASSOCIATIVE, AND CONNOTATIVE MONTAGE IN F RENCH I MPRESSIONISM