German Expressionism Part Ⅰ: Fritz Lang And ‘Mise-en-Scène’

In the silent darkness of a cinema hall,

shadows dance and flicker,

conjuring a world of twisted forms and eerie beauty.

These are the films of German Expressionism, a genre that emerged from the post-war chaos of early 20th century Germany to revolutionize the language of cinema. With their striking use of light and shadow, surreal sets, and haunting atmosphere, these films captured the innermost fears and desires of a nation in turmoil, creating a new kind of visual poetry that still resonates today. In this essay, we will explore the mesmerizing world of German Expressionism films, delving into their themes, styles, and lasting impact on the art of cinema. Join me on a journey into the shadows, where beauty and terror converge in a timeless dance of light and darkness.

Fritz Lang was a master of both mise-en-scène and German Expressionism, using his technical prowess to create visually stunning films that explored themes of power, morality, and the human condition. Lang's films are notable for their use of elaborate sets and dramatic lighting to create a dreamlike atmosphere.

Identification section:

German Expressionism: German Expressionism was a cultural movement that originated in Germany in the early 20th century, with a particular impact on the visual arts, literature, and cinema. Expressionism was characterized by an intense and subjective approach to reality, often employing exaggeration, distortion, and stylization to convey inner emotions and ideas. In film, German Expressionism led to the creation of some of the most visually striking and influential movies of the silent era, such as The Cabinet of Dr. Caligari, Metropolis, and Nosferatu.

Mise-en-scène: Mise-en-scène is a term commonly used in film studies to refer to the arrangement and composition of visual elements in a film scene. It encompasses everything from the lighting, camera angles, and set design to the placement and movement of actors and props within a shot. German Expressionism is a cultural movement that originated in Germany in the early 20th century and is characterized by the heightened use of dramatic lighting, stylized performances, and distorted imagery.

Fritz Lang’s body of work

Fritz Lang (1890-1976) was a pioneering filmmaker who played a key role in the development of German Expressionism and film noir. Born in Vienna, Austria-Hungary (now Austria), Lang grew up in a cultured and prosperous family, with a father who was an architect and a mother who was a pianist. After the war, Lang turned his attention to the burgeoning film industry, starting as a scriptwriter before moving into directing. He made his directorial debut with Halbblut (1919), a crime drama that reflected the social tensions and upheavals of post-war Germany. However, it was his second film, The Spiders (1919-20), a two-part adventure serial, that established Lang's reputation as a master of spectacle and suspense.

Lang's breakthrough

Lang's breakthrough film, however, was The Cabinet of Dr. Caligari (1920), a horror classic that is widely regarded as one of the defining works of German Expressionism. The film was a commercial and critical success, and it cemented Lang's reputation as one of the leading directors of his time.

Lang's use of German Expressionism is particularly evident in his 1922 film Dr. Mabuse, der Spieler (Dr. Mabuse, the Gambler). The film follows the exploits of a criminal mastermind who uses his powers of hypnotism and suggestion to manipulate the minds of his victims. Lang's use of dramatic lighting and stylized performances creates a sense of unease that permeates the entire film. The scenes in which Mabuse uses his powers are particularly striking, with his victims' faces distorted and contorted by his hypnotic influence. The film's use of shadow and darkness is also notable, with characters often appearing as silhouettes against the walls of the film's elaborate sets.

Metropolis

Fritz Lang's 1927 film "Metropolis" is a masterpiece of cinema, often regarded as one of the most influential films of all time. One of the reasons for its enduring appeal is the innovative use of mise-en-scène, a term that refers to the arrangement of visual elements within a shot or scene. Lang used towering skyscrapers and massive machines to create a futuristic cityscape that was both awe-inspiring and oppressive. The lighting in the film is equally impressive, with shafts of light piercing through the darkness to highlight key characters or set pieces. The overall effect is one of a world that is both fantastical and oppressive, with the individual struggling to find their place within it.

The first thing to note about "Metropolis" is its stunning visual design. The film is set in a futuristic city that is both massive and intricate, with towering skyscrapers, bustling streets, and vast underground tunnels. Lang and his team of designers and technicians created this world using a combination of practical and special effects, including elaborate sets, miniatures, matte paintings, and rear projection. The result is a highly immersive environment that feels both realistic and fantastical.

Within this world, Lang carefully staged each shot to convey meaning and emotion. One of the most striking examples of this is the use of contrast between light and dark. Throughout the film, Lang employs chiaroscuro lighting to create a sense of depth and drama. In particular, he often places his characters in stark silhouettes against bright backdrops, emphasizing their isolation and vulnerability. In the scene where the workers first descend into the underground city, their hunched figures are set against a bright, blinding light that emphasizes the vastness and oppressiveness of the environment.

Lang also uses mise-en-scène to create visual motifs and patterns that underscore the film's themes. One of the most memorable examples of this is the use of geometric shapes, particularly circles, and spirals. These shapes appear throughout the film, from the massive clock faces that dominate the cityscape to the swirling machines in the underground factories. These shapes create a sense of order and precision but also suggest a kind of mechanical, dehumanizing force that dominates the characters' lives.

In addition to these formal elements, Lang also uses mise-en-scène to convey character and narrative information. He often frames his characters in relation to their surroundings, showing how they are defined and limited by their environment. In the scene where the heroine Maria visits the wealthy, decadent upper city, she is dwarfed by the opulent decor and surrounded by grotesque, masquerading figures. This framing emphasizes her purity and moral clarity and sets up the contrast with the corrupt, decadent elites she opposes.

Lang's meticulous attention to detail, his innovative use of lighting and composition, and his ability to create powerful visual motifs all contribute to the film's enduring impact. Through his use of mise-en-scène, Lang creates a world that is both haunting and unforgettable, a testament to the power of cinema to capture the imagination and stir emotions.

M

Lang's 1931 film M is another example of his masterful use of mise-en-scène and German Expressionism. The film follows the hunt for a serial killer who preys on children, and Lang uses a variety of techniques to create a sense of tension and unease. The film's opening scene, in which a child is lured away by the killer, is a masterclass in visual storytelling. Lang uses shadow and darkness to great effect, with the killer's silhouette appearing against the wall of an abandoned building. The use of sound is also notable, with the sound of the killer's whistle becoming an ominous and terrifying motif that recurs throughout the film.

The era of sound film

Lang was not limited to his silent films. In his 1933 film The Testament of Dr. Mabuse, Lang continued to use elaborate sets and dramatic lighting to create a sense of unease and foreboding. The film's use of sound is also notable, with the sound of Mabuse's voice becoming a terrifying presence that haunts the film's protagonists. The film's depiction of the rise of fascism in Germany is also notable, with Lang using the character of Mabuse to represent the forces of tyranny and oppression that were beginning to take hold in the country.

Fritz Lang used his technical prowess to create visually stunning films that explored complex themes and ideas. His use of elaborate sets, dramatic lighting, and stylized performances created a dreamlike atmosphere that was both awe-inspiring and oppressive. Lang's films continue to be studied and admired today, not only for their technical achievements but also for their insights into the human condition.

Shadow and Light

German Expressionism films often dealt with social and political themes, reflecting the turbulent times in which they were made. German Expressionism films were a unique and influential genre that transformed the language of cinema and contributed to the development of modern film. With their striking visual style, surreal atmosphere, and social and political themes, Expressionist films created a new kind of cinematic experience that was both haunting and beautiful, terrifying and exhilarating. Even today, these films continue to inspire and influence filmmakers and artists around the world, reminding us of the power of cinema to evoke deep emotions and explore the mysteries of the human condition.

German Expressionism PartⅡ: Efficient Horror Narrative "Nosferatu."