Term
| T/F: Although Germany suffered financially from its WWI loss, the film industry was successful. |
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Definition
TRUE
The film industry benefited from inflation. People wanted to spend their money while it had worth, as there was little point in saving, and films were readily available. Film attendance was high. |
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Term
| The heyday of german Expressionism was from 192_-192_. |
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Definition
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Term
| T/F: Germany did not support filmmaking in the Weimar period. |
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Definition
| FALSE: The German government supported filmmaking so heavily that it banned foreign film imports for five years to reduce competition. |
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Term
| The Nazi Party was formed in ____. |
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Definition
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Term
| WWI ended for Germany with the signing of the Treaty of __________ on June 28, 1919. |
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Definition
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Term
| Inflation encouraged ______ and discouraged ______. |
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Definition
| Encouraged export, discouraged import. |
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Term
| The first major director of the era was _____ _______, who later went on to work in Hollywood. |
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Definition
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Term
| T/F: Expressionism left a lasting impression with its use of mies-en-scene. |
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Definition
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Term
| T/F: Actors were more vital to the story than sets in German Expressionism. |
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Definition
| FALSE: Both actors and sets were of equal importance. Acting was deliberately exaggerated to match the setting and style of the film, which was often odd itself. |
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Term
| T/F: German Expressionism utilized complicated camerawork and editing to bring life to the films. |
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Definition
| FALSE: Camerawork and editing were both used simplistically. |
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Term
| Name 3 German Expressionist films besides The Cabinet of Dr. Caligari. |
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Definition
| Nosferatu, The Golem, Metropolis. |
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Term
The 4 reasons for film industry success in the Weimar period:
1. Government ban on _______ _______.
2. German films being ________.
3. Foreign films were not imported even after the ___ was lifted.
4. A tendency toward _____________, or small companies who merged their resources. |
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Definition
1. Government ban on FOREIGN IMPORTS.
2. German films being EXPORTED.
3. Foreign films were not imported ever after the BAN was lifted.
4. A tendency toward CONGLOMERATES, or small companies who merged their resources. |
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Term
Other Weimar styles/genres/movements:
______ Film genre.
New ___________ movement.
_______________ genre, psychological drama with a central character who deals with emotional drama. |
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Definition
STREET Film genre.
New OBJECTIVITY movement.
KAMMERSPIELFILM genre, psychological drama with a central character who deals with emotional drama. |
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Term
| This style of filmmaking treats the frame as a canvas. |
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Definition
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Term
| This style of filmmaking treats the frame as a window. |
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Definition
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Term
| T/F: Expressionism focuses on how a person appears on the outside. |
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Definition
| FALSE: Expressionism focuses on how a person is feeling on the inside vs. how they appear on the outside. The movement is about creating a physical version of emotions as opposed to reality. |
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Term
| Why did expressionism shift toward formalism as opposed to realism? |
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Definition
| To avoid the dreariness of German post-war reality. |
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Term
| T/F: Expressionist lighting consisted of high contrasts within shades of gray, only extreme lights and darks, |
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Definition
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Term
| The Cabinet of Dr. Caligari was directed by ______ _____. |
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Definition
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Term
| The Cabinet of Dr. Caligari was co-written by ____ ________ and ____ _____. |
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Definition
| Hans Janowitz, Carl Mayer |
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Term
| The Cabinet of Dr. Caligari was art directed by _______ ____. |
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Definition
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Term
The Cabinet of Dr. Caligari Characters:
The protagonist. |
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Definition
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Term
The Cabinet of Dr. Caligari Characters:
The protagonist's best friend who is murdered by Dr. Caligari. |
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Definition
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Term
The Cabinet of Dr. Caligari Characters:
The fiancée of the protagonist. |
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Definition
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Term
The Cabinet of Dr. Caligari Characters:
The somnambulist who carries out Dr. Caligari's murders. |
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Definition
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Term
| The aesthetic reason for the decline of Weimar Cinema and the Expressionist Movement. |
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Definition
| Desire for something new. |
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Term
| The 2 economic/financial reasons for the decline of Weimar Cinema and the Expressionist Movement. |
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Definition
| Foreign competition and the Paramount Agreement. |
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Term
| The 2 political reasons for the decline of Weimar Cinema and the Expressionist Movement. |
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Definition
| The 1927 Ufa bailout by Alfred Hugenberg and the 1933 election of Hitler as chancellor. |
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Term
| The practical reason for the decline of Weimar Cinema and the Expressionist Movement. |
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Definition
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Term
| The arrangement of light and dark elements in a pictorial composition; in film, it is achieved by flat, high-contrast lighting. |
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Definition
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Term
| The term for the fictional world of a film. |
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Definition
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Term
| A ghostly double, evil twin or soul-less other. |
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Definition
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Term
| Events that exceed the scope of rational, logical explanation; includes the magical, spiritual, mystical, supernatural or metaphysical.Events or experiences that transcend our understanding of the mundane, material world. |
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Definition
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Term
| Examination of the outward shape of structure of a work of art; examination of the arrangement of elements in a work of art; in film , this entails looking at how something is shot and cut together, how it is lit, how sound is used, etc. |
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Definition
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Term
| Category or classification of a story type, grouped according to shared narrative patterns, subject matter, and recognizable conventions that has become established, accepted and thereby expected by the audience. |
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Definition
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Term
| A narrative device (type of character, style, situation, or story element) that has become established, accepted and thereby expected by the audience. |
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Definition
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Term
| Composition within the frame. The arrangement of all the visual elements within an individual shot, i.e., the characters, props, set design, lighting, makeup, camera angle, camera movement, depth of field. |
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Definition
| Mise-en-scène: literally "put-in-the-scene" |
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Term
| A recurrent thematic or visual element within a work of art. |
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Definition
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Term
| A broad tendency or trend during a particular period of time, identifiable or unified by shared thematic and formal characteristics. |
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Definition
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Term
| Examination of the issues or ideas expressed by a work of art; this entails looking at story or genre, as well as a film's formal elements. |
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Definition
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