The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt

by Lotte H. Eisner and David (Ed. ) Eisner, Lotte H. ; Robinson

Book Overview

The Golden Age of German cinema began at the end of the First World War and ended shortly after the coming of sound. From The Cabinet of Dr. Caligari onwards the principal films of this period were... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0520024796
• Release Date: January 1974
• Publisher: University of California Press
• Length: 360 Pages
• Weight: 1.40 lbs.
• Dimensions: 8.3" x 1.3" x 5.8"

Customer Reviews

The white and the dark: spirit of german cinema

In this work, Lotte Eisner makes an inteligent analysis about the influences of the expressionism and german theater - specially Max Reinhardt theater - in the german cinema. It's important to know that expressionism have been confused, not rarely, with other kind of ideological and esthetical sources of influence. And about this confusion, this book brings a good help. The authorress identifies and points what comes from the expressionism and what is not, where are the traces of the expressionism, of the german theater or whatever. And besides, Lotte Eisner speaks about the work of great german directors, like F. W. Murnau, F. Lang and G. W. Pabst, making an interesting and complete review of the german masterpieces - for example Caligari, Nosferatu and Metropolis, . She also speaks a little about other films related to Germany, yet made in other countries. Since the authoress was one of the most important movie critics of Germany, and also a wickness of the new birth of german cinema after the First World War, her statements or reviews are solid and plenty of good reveals.

White and dark: the spirit of german cinema

In this work, Lotte Eisner makes an inteligent analysis about the influences of the expressionism and german theather in the german cinema. It's important to know that expressionism have been confused, not rarely, with other kind of ideological and esthetical sources of influence. And about this confusion, this book brings a good help. The authorress identifies and points what is expressionism and what is not, where are the traces of the expressionism, of the german theather or of whatever. And besides, Lotte Eisner makes an interesting and complete review of the most important german films, for example Caligari, Nosferatu and Metropolis, also speaking a little about other films related to Germany, yet made in other countries. Since the authoress was one of the most important movie critics of Germany, and also a wickness of the birth of german cinema after the First World War, her statements or reviews are solid and plenty of good reveals.