German Expressionism: An Introduction

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I. History and Philosophy: 1918 - 1933

The defeat of Germany in the first World War resulted in political and social upheaval. What had been a strong empire was hacked apart by the territory reallocation demanded in the Treaty of Versailles and the Kaiserdom was replaced by the progressive Weimar Republic. The Weimarers enacted a constitution which established a democracy with universal suffrage. However, the new republic was unstable and saw hyperinflation in its first years.

Anti-government agitation from the German public was prevalent, stemming from the plummeting value of the Papiermark and the shame of defeat in the Great War. The art of the time certainly portrayed anti-authoritarian sentiments. Particularly in literature, Kafka's The Trial tells the story of a young bank teller who is arrested for no discernible reason and has to navigate the frustrating maze of judicial bureaucracy.

Inflation was finally staunched in 1923 and for the remainder of the decade Germany's culture paralleled the Roaring Twenties of the United States. Art flourished and followed the liberalism of the public, spiting the morals and social norms of the 19th century.

The golden era of the late 1920's also cultivated philosophical culture, generating some of the greatest minds of the century. One such thinker is Friedrich Nietzsche, most well known for his principle of the "will to power," submitting oneself to struggle in order to achieve self-mastery. Or, more colloquially, "what doesn't kill me, makes me stronger." Nietzsche was also a firm supporter of the arts, stating that art is not just a form of human activity but is rather the highest expression of the human spirit.


II. Defining Elements of Expressionism

Expressionism was a key movement that took place in Europe, mainly Germany, in the early twentieth century. The expressionist movement peaked in the 1920’s in Berlin, and influenced culture everywhere. Art, music, literature, film, dance, and even architecture were impacted by the movement.

Expressionists focus on personal emotions rather than outside reality. Theycounteract against naturalism and realism and incorporate feelings into their work. To an expressionist, it is more important to display a sensation then to simply capture the image of a landscape. This difference in focus is portrayed by the artists' use of extravagant colors. Vincent Van Gogh and Edvard Munch inspired the expressionist movement, and are famous artists today. Van Gogh wrote about his own work, “Instead of trying to reproduce exactly what I see before my eyes, I use color more arbitrarily to express myself forcibly.” He was able to sum the expressionist movement into one sentence.


There were two major expressionist groups that formed in the early 20th century. The Die Brϋke that originated in Dresden, but moved to Berlin, and the Der Blaue Reiter that was mainly in Munich. The Der Blaue Reiter (The Blue Rider) was a group of expressionists that wrote an almanac comparing different ways of creating art. They were more wide range in their group that the others. Sections like Abstract art branched off from the Der Blaue Reiter after they died off, which was rather quickly. The Die Brϋke (The Bridge) believed that their work formed the ‘bridge’ between the old naturalist focused art and new, expressionist German art. Their woodcut style of art is perhaps most memorable.


Expressionism also extended to literature, with authors focusing on the individual state of mind. The literature focused on the feelings and emotions of the characters, rather than characters' surroundings. Particularly in Patricia Highsmith’s Strangers on a Train, Highsmith continues to describe the intense and frequent emotions and thoughts of protagonaist Guy Haines; she conveys his inner consciousness to the audience. Guy is also caught not paying attention during conversations a number of times. This emphasis on the personal again displays the characteristics of expressionism.




III. Influence of the Movement on Film Noir and Horror

German Expressionism directly impacted Hollywood back through the 20s, 30s, and 40s. The German silent cinema was said to be more ahead of Hollywood. Expressionist films were notedly stylized, with asymmetrical camera angles and harsh contrast between dark and light. The plots of these films hinged on dark, vague surroundings and disillusioned characters often painting sombre picture of a corrupt underworld. These hallmarks of German Expressionism are clearly evident in the film noir of the 1940s and the horror of Alfred Hitchcock.


In 1924 Hitchcock was actually sent by his film company to work as an assistant at a German film company to film a move called The Background. This direct impact of German Expressionism can be seen throughout his career in films such as The Maltese Falcon, Psycho, and The Lodger. Hitchcock said, "I have acquired a strong German influence by working at the UFA studios Berlin."


In Psycho, Norman Bates’ blurred image in the shower scene is reminiscent of the German film Nosferatu. German Expressionism also has reflected on contemporary films such as Dark City. It was influenced by German Expressionism's stark contrast, rigid movements, and fantastic elements.









IV. Discussion Questions
  1. Do you think that Expressionism is still alive in modern society? Have you observed it on campus?
  2. Has Nietzsche's philosophy of "what doesn't kill me makes me stronger" influenced your life? Do you think the idea of self-mastery is worthwhile?
  3. What aspects of German Expressionist film did you notice in "Laura" or "The Maltese Falcon"?
V. Relevant Links

VI. Bibliography
  • "Berlin: The City as Body The City as Metaphor." Stanford University. Web. 22 Feb. 2010.
  • Don Kornits (1999-06-02). "Alex Proyas - Director, Dark City" <http://efilmcritic.com/feature.php?feature=54>. eFilmCritic. Retrieved
  • "Expressionism - the nature of Expressionist art." Free art lessons - learn how to draw, paint and design. Web. 22 Feb. 2010.
  • "Friedrich Nietzsche (1844 - 1900)." Web. 20 Feb 2010. <http://www.sparknotes.com/philosophy/nietzsche/section3.rhtml>
  • Jones, Kristin. "Dark Cynicism, British Style." Wall Street Journal - Eastern Edition, 254.41 (2009): D7--1. 2007-07-06.
  • Kolb, Eberhard. Weimar Republic. 2nd ed. New York: Routledge, 2004. Google Books. 20 Feb 2010.
  • Street with No Name: A History of the Classic Film Noir. Lexington: University of Kentucky Press. ISBN 0813122430, pp. 9-34.
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