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The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror
... An earlier version of this chapter was published in Inter-Asia Cultural Studies (VanHeeren 2007). 2 See, for example, Carroll 1990;Coates 1991;Schneider 2003. Gladwin (2003 discusses horror film in Indonesia in relation to politics. ...
... These cabinets were typical of Southern Europe and, particularly, of Italy [21], so it comes as no surprise that Caligari and Cesare bear Italian names. The name of Caligari was probably chosen for its resemblance to the occultist Cagliostro (1743-1795); some authors believed that it was an unconscious message for the Germany of 1920 to adopt the Italian model of Fascism [22]. ...
Movies could provide unexpected information on the state of medical knowledge in different historical periods. The first centenary of the German silent horror movie Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari) by Robert Wiene (1873-1938) could be a timely occasion to reflect on the scientific debate of hypnosis and its legal implications between the 19th and the 20th century. In particular, this article describes the positions of the School of Salpêtrière (Charcot) and the School of Nancy (Bernheim) on the possibility of crimes committed by subjects under hypnosis and the influence of these theories on medical community and public opinion of Germany in the interwar period.
... An earlier version of this chapter was published in Inter-Asia Cultural Studies (VanHeeren 2007). 2 See, for example, Carroll 1990;Coates 1991;Schneider 2003. Gladwin (2003 discusses horror film in Indonesia in relation to politics. ...
This highly informative book explores the world of Post-Soeharto Indonesian audio-visual media in the exiting era of Reform. From a multidisciplinary approach it considers a wide variety of issues such as mainstream and alternative film practices, ceremonial and independent film festivals, film piracy, history and horror, documentary, television soaps, and Islamic films, as well as censorship from the state and street. Through the perspective of discourses on, and practices of film production, distribution, and exhibition, this book gives a detailed insight into current issues of Indonesia’s social and political situation, where Islam, secular realities, and ghosts on and off screen, mingle or clash.
Largometrajes como Frankenstein y Dracula, ambos lanzados por la Universal Pictures en 1931, suponen el acta fundacional de un nuevo terror gótico que se vincula con algunas películas del cine de Weimar –no solo el caligarismo y otras derivas “expresionistas”- y de los precedentes góticos como The Phantom of the Opera (Rupert Julian, 1926). Surge así un gothic cinematográfico inspirado en el imaginario de la novela gótica y en la pintura romántica con guiños a la iconografía barroca (vanitas). La estética, empero, está claramente vinculada a la ruptura que propuso el romanticismo con su ampliación del concepto de lo bello hacia el territorio del unheimlich y lo siniestro. Este artículo intenta demostrar cómo se concreta performativamente esta nueva estética neorromántica en las distintas escenografías, entendidas en un sentido amplio que incluye los recursos fílmicos.
Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “ compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “ predic t something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod , 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett , 1924).
Il magico letterario, così bizzarro, che anima la narrativa post-sovietica è palesemente diverso dai generi gotici, fantascientifici, o fantasy di ambito occidentale o Anglo-americano. Le differenze sono molte, ma le più importanti riguardano il centro di vero interesse, che in questo genere post-sovietico, si localizza su congetture storiche bizzarre piuttosto che su creature magiche e strane. Qualsiasi elemento gli autori post-sovietici proiettino nel passato o nel futuro, il loro scopo usuale è la comprensione del trauma essenziale, o piuttosto della catastrofe, del periodo sovietico.
The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar
Germany raises the question of its historical significance, in particular during Germany’s
“crisis of classical modernity”. While previous studies have addressed the double from a
narrative perspective, focusing on its psychological significations as divided self, this thesis
instead considers the theme from a structural and historical perspective: how, as a
technical reproduction of the human body that is ontologically double, at once real and
unreal, it serves as a site for reflection on the visual experience of modernity and on the
medium of cinema. The thesis begins by considering the relationship between the theme of
the double, born circa 1800, and the burgeoning visual regimes of modernity. Important
aspects of this relationship are the abstraction of representation from stable referents in the
aftermath of Kantian thought, the empirical study of the observing subject, and the
development of new technologies of recording and projection. Nineteenth-century
technologies of optical illusion, such as the phantasmagoria and lifelike automata, as well
as the itinerant showmen who displayed them, gave rise to doubles of the human body with
uncanny effects of ontological uncertainty. These not only influenced the doppelgänger
stories of German Romanticism and after, but also were ancestors of cinema’s doubles and
their showmen. This study considers the “cinematic” themes of a set of stories and films of
the double, including repeatedly performed scenarios of exhibition and voyeurism, visual
pleasure and anxiety, foregroundings of the narration, and allusions to the history of cinema
and media technologies. The central chapters of the thesis offer readings of five classics of
German film: The Student of Prague (1913), The Cabinet of Doctor Caligari (1920), The
Golem: How He Came into the World (1920), Waxworks (1924), and Metropolis (1926).
Addressing the double as a reflexive theme of optical uncertainty, these readings focus on
how moments of optical distress are depicted and how film language is used to construct a
cinematic uncanny: an ontological problem arising from the ambivalent character of visual
experience that affects the narrative and film form, characters and spectator alike. This
perspective sheds light on the historical significance of the double theme, revealing its close
relationship with the problematic status of vision and the observing subject in modernity, and with a special case of modern visual experience, the technological medium of cinema.
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