Analysis Of Robert Wiene's Film Das Cabinet Des Dr. Calligari

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Cited:1. Balthazar, Scott Leslie. Evolving conventions in Italian serious opera: scene structure in the works of Rossini, Bellini, Donizetti and Verdi. University of Pennsylvania, 1985.

In Wolfgang Staudte’s (1951) film, Der Untertan, the main character named Diederich Hessling develops from being a meek and cowardly boy to become a manipulative and self-involved man. The film uses many instances of imagery and subtle moments of foreshadowing to convey the ideals of the people of that time which lead up to the World Wars. Diederich is a typical Prussian citizen who blindly follows, supports the true “German values”, and bows to his superiors while stepping on his subordinates. The film illustrates Diederich’s character development, his shift in personality, and political confrontations through carefully crafted camera techniques that also highlight the time period that the film was set in as well as produced in.

He humanizes Cyrano and detaches him from the near mythic qualities and legacy he wishes to attain. Though a static character himself, Le Bret reveals the depth of Cyrano’s character, putting his development as a Romantic hero in perspective of reality.

     Also through Li Van Hgoc the reader learns one of the most important lessons of the novel, to “Look closer. Concentrate.” Going After Cacciato is a confusing mess filled with ’noise’ in the background, foreground, and whatever middle ground there may be. The reader of this novel must read between the lines to understand. They must “Look closer.

With a firm understanding of the piece, the significance of the piece becomes much easier to comprehend. One of the main reasons why Procaccini's The Scourging of Christ is important is due to its display of the evocative powers of art. One of the most striking traits of this piece lies in its use of chiaroscuro. Through the use of dramatic lighting, Procaccini is able to evoke within the audience a clear sense of the pain and agony of Christ. This sensation is further augmented by the ominous faces that lurk behind Christ, and Christ's expression of extreme agony. Even for somebody like myself, who did not at once recognize it as a piece about Christ, it was inevitable to understand that the piece depicted some form of extreme

Leni Riefenstahl was one of the most revolutionary and certainly most controversial filmmakers of the early twentieth century. The lasting influence of her innovative filmmaking techniques on twentieth century cinema is undisputed by scholars throughout history, but the exact nature of her work is surrounded by ongoing controversy. Riefenstahl’s production of the feature films “Triumph of the Will” (Source 3) and “Olympia” (Source 1) have left a lasting imprint on history; these films established Riefenstahl’s influential career as a film director under the years of the Nazi regime. Although these films are attributed by scholars and critics to be Riefenstahl’s greatest achievements they are also considered to be her greatest fault, for

The Cabinet of Dr. Caligari is a German Expressionist film that was released in 1920. The film was directed by Robert Wiene. Expressionism is defined as a visible world that is reshaped and even, distorted by internal forces such as soul, spirit, subjectivity, and emotion. A major component of The Cabinet of Dr. Caligari is it contains various examples of mise-en-scène, which is associated with visual aspects such as props in the background or clothing and the makeup the actor is wearing. Moreover, “boxes within boxes” is seen numerous times throughout The Cabinet of Dr. Caligari. One example where “boxes within boxes” is seen in the film is in Dr. Caligari’s tiny shack, where he has Cesare

The cinematography of the film, The Cabinet of Dr. Caligari was very effective to the audience at the time. During the 1920’s, it wasn’t common to have a horror movie like this with a dark and twisted visual style. Because of the cinematography of this German film, it actually had a major influence on the American films in horror and film noir genres. To get the cinematography right, they had to exaggerate the lighting to give off the feel of it being a horror film.

In The Cabinet of Dr. Caligari, Robert Wiene cleverly uses mise-en-scene and cinematography to add to the eeriness and originality in the scene of Cesare’s awakening. The scene is important to the overall film because it instills the viewer to believe that there will be a connoting between Cesare and Alan. The purpose can be seen in the reverse shot sequence at the end of the scene in the dialogue “How long do I have to live?” – “Till dawn tomorrow.” The scene is based highly on use of expressionistic credit design and stylization of acting through exaggerations. Through the theatrical design set, Robert Wiene builds tension and drama to the scene and draws the views attention to the constructed nature of the film.

Throughout some of the readings, there is an underlying Religious or Good vs. Evil theme developing through the text. Beginning with the Marble Statue, the characters Fortunato and Donati could be compared to an angel and a demon, respectively. Florio, a puerile nobleman, peregrinating to the city of Lucca meets a stranger taking the same path as him and they commence a cordial conversation. In the commencement of the story, Florio is a shy and bashful adolescent man. Throughout the story he develops into a more candid, outgoing person as he finds himself. His budding comity with Fortunato, the stranger he met peregrinating to Lucca, avails him to blossom from being an introvert to becoming an extrovert. Fortunato’s character has a deeper

Casablanca, first released on January 23rd, 1943 is undoubtedly one of the masterpieces of Classical Hollywood film. Written and released in the midst of World War Two it explores themes such as love, desire and especially sacrifice. Although the love story of the protagonists is the cause and catalyst for most of the narrative, one would not necessarily associate it with the conventional Classical Hollywood love story. Rather as a fabula based on the principle of the importance of sacrifice in order to overcome a common enemy, in this case the Nazis. Casablanca does indeed contain many of the common characteristics identified with the Classical Hollywood film. An example being the the way director, Michael Curtiz used a mainly chronologically ordered narrative structure and the utilisation of a Cause and Effect chain. In this essay I will looking at the various ways I believe this film does fall into the criteria of a Classical Hollywood narrative and also how some could perceive that it does not.

The Cabinet of Dr. Caligari is praised worldwide for its anti-authoritarian message and expressionistic style with its framed narrative. The film is cited as one of the first horror films and influenced the development of film noir. Caligari remains to this day an important part of the history of German

Today we are gathered here to commemorate Cesare Borgia, born on the 13th of September 1475 and died on the 12th of March 1507. He was born and raised here is Rome. I was close to Cesare being a cousin of his. This is a very sad time for his family and friends. I of course are deeply saddened by his passing. I’m only joking, I am glad he’s dead. He was one of the most malicious people I have ever known. The world will do better without him. I mean, poisoning people and raping your sister, do we really need that in this world. The man was pure evil. So my aim in this speech is to tell you all what a disgusting man Cesare was. Let’s start with the multiple deaths he is responsible for. In case you didn’t know, Cesare killed up to 70 of his rivals.

This makes Guido’s father look smaller in the background. This is a very good example of mise-en-scene because it’s defined as the articulation of cinematic space. In this film Fellini took very good advantage of the frame. His way of placing characters is quite fascinating he almost places them like if they’d been on a stage while filmmaking.