Along with Nosferatu (F.W. Murnau, 1922), The Cabinet Of Dr. Caligari is one of the most notable examples of German Expressionist cinema. The film contains an incredibly rich mixture of vanguard aesthetics, emphasised by the films sparse narrative construction and pellet almost entirely in mid to long shots, with smaller in the way of editing or camera motions to conflict upon the framing of the grandiose visuals.
The majority of the impact of those visuals is derived from the magnificently stylised sets, designed to outwardly express the inner psyche of the protagonists (as was vernacular practice in all forms of Expressionist art, a movement that sought to visualise emotions).
Here the sets consist majorly of two-dimensional backdrops with twain scenery and lighting painted directly onto them. Even exterior scenes were shot entirely on a sound-stage with painted landscapes and buildings.
Whether a painted backdrop or a more tractile prop though, all of Dr.
Caligaris aesthetics share the similar otherworldly values. Created with an eye for impossible architectural shapes, the world of Dr. Caligari is modify with exaggerated angles and jagged enclosed perspectives, which push a olfactory property of constant threat and unsettling dissonance upon the audience.
Interestingly, much of the scene I will be looking at takes place within the bedroom of Jane. A far more rounded and little exaggerated set than any other in the film, a choice of design which I believe helps to convey the normality and comfort a person finds within territory as familiar as their own bedroom.
Establishing a feeling of galosh within this set is necessary to build both...If you want to beat back a full essay, order it on our website: Ordercustompaper.com
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