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Esther fields

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I  think both the film and also make up etc have a lot of expressionism influences.
Esther fields

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call me bubbles darling, everybody does!

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call me bubbles darling, everybody does!

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Savez-vous à quoi servent les contes de fée ? À incarner ce que les grands continuent de fuir. À donner aux enfants les mots que leurs parents ont préféré enfouir...

Photo prise par le photographe Aldo Graziati, de l'acteur français Jean Marais, qui joue dans les scènes du film de Jean Cocteau "La Belle et la Bête" © AFP / ERIC FEFERBERG

Vous vous souvenez des bras vivants qui sortent des murs tenant les chandeliers ? Les statues mouvantes à l'œil perçant ? Le noir et blanc abrasif d 'Henri Alekan, le plus grand chef opérateur de sa génération ? Le costume ruisselant de perles de la Bête ? La tension puissamment érotique qui gagne la soumission de la Belle ?

Le conte est magnifique. Il n'apprend pas seulement aux enfants à distinguer la laideur physique de la laideur morale. Il dit aussi ce qu'il y a de plus complexe, de plus vrillé, en nous depuis la nuit des temps. Il dit que la peur peut être source de désir. Et que nos désirs peuvent aussi être la matrice de nos peurs. Il dit d'une certaine manière que pour contrer la peur, nous repoussons nos désirs. Ou pire, que pour comprimer nos désirs, nous agitons la peur. Qu'est-ce qui libère la Bête de son sortilège ? Non pas que la Belle surmonte sa peur, au contraire, qu' elle accepte de l'éprouver pleinement, de plonger dans une inconnue terrifiante en ayant pour seul guide, l'amour.

La liberté et le désir, ça fout la trouille. Ça pique, on aime ça, mais quand même, ça colle les foies. Moi, je passe ma vie à me trouver des entraves à ma liberté, tellement j'ai peur d'avoir peur. Mieux, je passe ma vie à éteindre mes envies, mes idées, tellement rien que de désirer j'ai déjà l'impression d'avoir basculée là où je ne sais pas ce qu'il va se passer.

Souvent, je me dis que le plus dur n'est pas d'arriver à aimer les " bêtes " envoutantes, mais tétanisantes, que nous croisons sur notre chemin. Le plus dur, c'est d'arriver à aimer la " bête " qu'on a en soi.

Peut-être qu'à nos enfants, il faudrait cesser de dire " N'ai pas peur, je suis là ". Peut-être qu'à nos enfants, il faudrait dire " Aie peur, je suis là, c'est déjà ça ; aie peur, lance-toi ". Comme si le " N'ai pas peur, il ne t'arrivera rien ", laissait enfin sa place à un " Aie peur, il t'arrivera plein de choses ". Je vous raconte tout cela parce que j'y pense souvent. Parce que, vous savez, c'est à ça que servent les contes de fée. A incarner ce que les grands continuent de fuir. A donner aux enfants les mots que leurs parents ont préféré enfouir.

► LE PROGRAMME : La Belle et la Bête de Jean Cocteau, c'est ce soir sur Gulli à 20h50.

La chronique en vidéo

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"La Belle et la Bête" de Jean Cocteau, sur Gulli : un conte magnifique sur la peur et le désir

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Savez-vous à quoi servent les contes de fée ? À incarner ce que les grands continuent de fuir. À donner aux enfants les mots que leurs parents ont préféré enfouir... Vous vous souvenez des bras vivants qui sortent des murs tenant les chandeliers ? Les statues mouvantes à l'œil perçant ?

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Actor

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Crimson Peak - Guillermo del Toro
The ghosts are all very stylized twisted versions of the ways they died, showing their agony rather than realistic depictions of their deaths. (Maz)

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directed by germam expressionist filmmaker Paul Leni

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The Man Who Laughs (1928) - You're The One

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otto rippert, fritz lang

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Clip from actor Alan Cummings documentary on the historical origins of the film Cabaret

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I presented another documentary for BBC4 entitled The Real Cabaret. In it I interviewed some of the people who'd been involved with the movie and original musical (Liza, John Kander, Joe Masteroff) but also went to Berlin to find out about the real cabaret artistes of the time, and what fates befell them. I also visit the actual flat Christopher Isherwood lived which was where he had the inspiration to write Goodbye to Berlin, the book that Cabaret is based on.

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I presented another documentary for BBC4 entitled The Real Cabaret.

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Makeup Inspired by Day of the Dead

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Robert Hughes on Expressionist Art

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The Shock of the New - Episode 6 -  The view from the edge

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Top 10 Most Important Film Movements of All Time

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COMPLETE LIST of all the film movements we mention (and the movies) is here: https://goo.gl/PjzcKO Every movie you've ever seen stands on the shoulders of the people who pushed the boundaries, broke rules, and forged a new path for the art form.

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Similar to Hitchcock's 'Vertigo' in the sense that the main themes are voyeurism and scopophilia. However, it was less popular than Hitchcock's now great film.

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A young man murders women, using a movie camera to film their dying expressions of terror. Director: Michael Powell Writers: Leo Marks (original story), Leo Marks (screenplay) Stars: Karlheinz Böhm, Anna Massey and Moira Shearer enjoy

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My early days of teaching high school drama were somewhat saturated with a fascination of German theatre practitioner Bertolt Brecht (many of my current students would probably suggest that same fascination is still alive and well!). As I dug deeper into the mind of Brecht trying to discover what it was that made this genius tick, I found he was heavily influenced by expressionism in the theatre happening in Germany when he was a young man. So began my interest in expressionism, itself.

Expressionism sometimes means many things to different people, so I thought I'd blog verbatim a key section from a seminal text on this style: J. L. Styan's Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre, first published back in 1981. The following excerpts are what initially helped me understand this most complex of theatrical forms, one that was much stronger in the visual than performing arts (Edvard Munch's The Scream etc).

Particular characteristics and techniques became associated with the early (German) expressionist play:

1. Its atmosphere was often vivdly dreamlike and nightmarish. The mood was aided by shadowy, unrealistic lighting and visual distortions in the set. A characteristic use of pause and silence, carefully placed in counterpoint with speech and held for an abnormal length of time, also contributed to the dream effect.

2. Settings avoided reproducing the detail of naturalistic drama, and created only those starkly simplified images the theme of the play called for. The decor was often made up of bizarre shapes and sensational colours.

3. The plot and structure of the play tended to be disjointed and broken into episodes, incidents and tableaux, each making a point of its own. Instead of the dramatic conflict of the well made play, the emphasis was on a sequence of dramatic statements made by the dreamer, usually the author himself. From this structure, grew Brecht's epic theatre...

4. Characters lost their individuality and were merely identified by nameless designations, like The Man, The Father, The Son ... such characteristics were stereotypes and caricatures rather than individual personalities, and represented social groups rather than particular people ... they could appear grotesque and unreal...

5. The dialogue, unlike conversation, was poetical, febrile, rhapsodic. At one time it might take the form of a long lyrical monologue, and at another, of staccato telegraphese - made up of phrases of one or two words or expletives.

6. The style of acting was a deliberate departure from the realism of Stanislavsky. Moreover, in avoiding the detail of human behaviour, a player might appear to be overacting, and adopting the broad, mechanical movements of a puppet.

Characteristics associated with German expressionism in its mature phase:

1. Settings are virtually abstract and unlocalized, and the scene frequently appears angular and distorted, suggesting a bad dream. The properties are few and symbolic.

2. The action of the play is still broken into episodes, and these may represent stages in the hero's life or a sequence of visions as seen through his subconscious mind, as in a dream play.

3. The characters for the most part remain nameless and impersonal, often moving grotesquely ... They always represent some general class or attitude, their characteristics being emphasized by costume, masks or make-up ...

4. Crowds are also impersonalized, and move with mass rhythmic movements, often mechanically.

5. The dialogue is increasingly clipped, fragmented and unreal. It became known as 'telegram style'.

6. The style of acting is hard to reconstruct from the text, but expressionist films have established its general characteristics. Known as the 'ecstatic' style, it was intense and violent, and expressed tormented emotions. Actors might erupt in sudden passion and attack each other physically . Speech was rapid, breathless and staccato, with gesture and movement urgent and energetic-eyes rolling, teetch bared, fingers and hands clutching like talons and claws.

Source: J. L. Styan Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre

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Expressionism In The Theatre | The Drama Teacher

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My early days of teaching high school drama were somewhat saturated with a fascination of German theatre practitioner Bertolt Brecht (many of my current students would probably suggest that same fascination is still alive and well!). As I dug deeper into the mind of Brecht trying to discover what it was that made...

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Featured shadows reinforced darkness in the plot, similar to past German Expressionist films. For instance, in The Night Of The Hunter (Laughton 1955) Reverend Harry Powell’s close-up shadow appeared next to young John. Along with highly stylized lighting, Powell’s shade suggests his dangerous presence in the scene or possibly his even darker alter-ego. Therefore, the audiences are engaged in a tight and psychologically uncomfortable mindset.

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Carey Wong

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Directed by Patrick Bakman; conducted by Stephen Lord. Scenic and costume design by Carey Wong; lighting design by Joan Arhelger. Presented in the Arkansas Arts Center Theatre.

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German Expressionistic film.

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M (1931) - Fritz Lang (Trailer) | BFI release

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German Expressionism In Film - Beginning, Style and Legacy. 

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German Expressionism In Film - Beginning, Style and Legacy. 

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Theatre of Expressionism | Screen | Oxford Academic

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H. F. Garten; The Theatre of Expressionism, Screen, Volume 12, Issue 2, 1 July 1971, Pages 29-37, https://doi.org/10.1093/screen/12.2.29

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Halloween - Tim Burton Expressionism

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Mask still life III

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The all-over organization of the canvas uniting animal to landscape, diminishes the heroism of the animal subject as depicted by Marc in 1911. Supporting Marc's latest conception of the world was Wilhelm Ostwald's theory of energy, in which matter is considered illusory. Only energy lines reveal appearance such as it is.

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starry night

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Very theatrical and Over the top (Phoebe neal)

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(phoebe neal)
I thought this was a good example.

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Batman Returns (1992) Official Theatrical Trailer HD

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this website shows expressionism in theatre
(phoebe neal)

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My early days of teaching high school drama were somewhat saturated with a fascination of German theatre practitioner Bertolt Brecht (many of my current students would probably suggest that same fascination is still alive and well!). As I dug deeper into the mind of Brecht trying to discover what it was that made this genius tick, I found he was heavily influenced by expressionism in the theatre happening in Germany when he was a young man. So began my interest in expressionism, itself.

Expressionism sometimes means many things to different people, so I thought I'd blog verbatim a key section from a seminal text on this style: J. L. Styan's Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre, first published back in 1981. The following excerpts are what initially helped me understand this most complex of theatrical forms, one that was much stronger in the visual than performing arts (Edvard Munch's The Scream etc).

Particular characteristics and techniques became associated with the early (German) expressionist play:

1. Its atmosphere was often vivdly dreamlike and nightmarish. The mood was aided by shadowy, unrealistic lighting and visual distortions in the set. A characteristic use of pause and silence, carefully placed in counterpoint with speech and held for an abnormal length of time, also contributed to the dream effect.

2. Settings avoided reproducing the detail of naturalistic drama, and created only those starkly simplified images the theme of the play called for. The decor was often made up of bizarre shapes and sensational colours.

3. The plot and structure of the play tended to be disjointed and broken into episodes, incidents and tableaux, each making a point of its own. Instead of the dramatic conflict of the well made play, the emphasis was on a sequence of dramatic statements made by the dreamer, usually the author himself. From this structure, grew Brecht's epic theatre...

4. Characters lost their individuality and were merely identified by nameless designations, like The Man, The Father, The Son ... such characteristics were stereotypes and caricatures rather than individual personalities, and represented social groups rather than particular people ... they could appear grotesque and unreal...

5. The dialogue, unlike conversation, was poetical, febrile, rhapsodic. At one time it might take the form of a long lyrical monologue, and at another, of staccato telegraphese - made up of phrases of one or two words or expletives.

6. The style of acting was a deliberate departure from the realism of Stanislavsky. Moreover, in avoiding the detail of human behaviour, a player might appear to be overacting, and adopting the broad, mechanical movements of a puppet.

Characteristics associated with German expressionism in its mature phase:

1. Settings are virtually abstract and unlocalized, and the scene frequently appears angular and distorted, suggesting a bad dream. The properties are few and symbolic.

2. The action of the play is still broken into episodes, and these may represent stages in the hero's life or a sequence of visions as seen through his subconscious mind, as in a dream play.

3. The characters for the most part remain nameless and impersonal, often moving grotesquely ... They always represent some general class or attitude, their characteristics being emphasized by costume, masks or make-up ...

4. Crowds are also impersonalized, and move with mass rhythmic movements, often mechanically.

5. The dialogue is increasingly clipped, fragmented and unreal. It became known as 'telegram style'.

6. The style of acting is hard to reconstruct from the text, but expressionist films have established its general characteristics. Known as the 'ecstatic' style, it was intense and violent, and expressed tormented emotions. Actors might erupt in sudden passion and attack each other physically . Speech was rapid, breathless and staccato, with gesture and movement urgent and energetic-eyes rolling, teetch bared, fingers and hands clutching like talons and claws.

Source: J. L. Styan Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre

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Expressionism In The Theatre | The Drama Teacher

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My early days of teaching high school drama were somewhat saturated with a fascination of German theatre practitioner Bertolt Brecht (many of my current students would probably suggest that same fascination is still alive and well!). As I dug deeper into the mind of Brecht trying to discover what it was that made...

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Expressionist theatre: characters represented class and and stereotypes, wearing sensual colours.
Grotesque, atmospheric, verfremdungseffekt (v-effect), alienation and distancing the audience from the characters- directing them toward the story via use of mask/placard/song/etc

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curious incident of the dog in the nighttime 

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curious incident of the dog in the nighttime 

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The Curious Incident of the Dog in the Night-Time Official Trailer

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Expressionist photography

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German Art Movement reacting to Expressrionism Neue Sachlichkeit

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Writer & Actor on Film

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Actor and writer Mark Gatiss embarks on a chilling voyage through European horror cinema. From the silent nightmares of German Expressionism in the wake of World War I to lesbian vampires in 1970s Belgium, from the black-gloved killers of Italy's bloody Giallo thrillers to the ghosts of the Spanish Civil War, Mark reveals how Europe's turbulent 20th century forged its ground-breaking horror tradition.

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German Expressionist Art Group

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An Introduction from the National Theatre

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An introduction to Bertolt Brecht | National Theatre

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Online Archive from MoMA

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The Cabinet of Dr Caligari (1920) Dir. Robert Wiene

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The Cabinet of Dr Caligari (1920) Dir. Robert Wiene

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Full length Film

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Robert Wiene: The Cabinet of Dr. Caligari (1920)

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Burton's films neatly contrasted with their German Expressionist influences...

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Tim Burton: A German Expressionism Influence

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Handout