Murnau who succeeded in bringing his craft to life by using low key cinematography style which bought more attention to darkness than light. The Expressionists were profoundly interested in the emotion of horror and one of the first of the expressionist films was Nosferatu (1922) which was an unauthorised adaptation of the novel Dracula by Bram Stoker. To reflect their inner feelings and internal anguish. The main theme of German expressionist films lies at the basis of Film Noir which is the exterior distorted in order to reflect the conflict of the characters in that world. The architecture had tendencies more toward gothic than classical and the conception of architecture was viewed as a work of art.Įven expressionism in German Films is considered as ‘new creativity’ in filmmaking which doors to new ideas all over the world. To sparkle an emotional effect, the architecture had distortion of form and used symbolic expression of inner experiences and subservience of realism. Many expressionist architects were part of the first World War and their experiences, combined with the political turmoil and social disorder lead in a romantic socialist agenda and utopian outlook. They desired to bring the human subconscious to attention without the use of literal symbols, generating an emotional reaction to their art.Įxpressionism was evident in German Architecture in the same period as it had a major influence on the architecture of the time. Through visual arts Expressionists created a look of the emotional and psychological-state-of-being, by use of wry images and abstract figures. In their work, expressionists asserted their feelings of discontent with the existing order and their intention for a revolutionary change. Due to this isolation, German Expressionism flourished in the early 1920s and became widely acknowledged in the international film industry. Foreign films were banned in Germany, increasing the demand for more domestic films. After the First World War, Germany was isolated from the rest of the world. Many of Film Noir’s specific styles, including stark b & w pictures with low-key lighting elements find their roots in the German Expressionism. Through the investigation of the filmic narrative and the exposition of the visual aesthetic innate in Carol Reed’s 1949 film, “The Third Man,” this presentation has been designed to explore the connection between film noir and architecture. In portraying the city in a manner particularly sensitive to impression of life and to certain atrocities that actually exist the film noir style is well adapted to issuing a president for modern architecture and providing an investigation into the city itself. The ideas inherent in film noir have unique positions on both the urban situations and the perception of the space it contains. This lead to the portrayal of the real elements of the society as the camera could record the passage of bodies. Through motion, film could create a ‘interpretation of space’ that was crucial to architectural theories. Film however became a medium which could connect and interact with architectural thought. In the beginning, architectural and artistic expression concentrated on the interpretation of two dimensional imageries into three dimensional forms. At the advent of the twentieth century, film bought into existence a new era within art and architecture.
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