American Cinematographer - February 2020 - 74
German Cinema Comes
to Hollywood
Excerpts from the AC archives mark the arrival of a bold new style
during the 1920s and '30s
By Luci Marzola
In the 1920s, Hollywood cinema dominated screens
throughout the world, but one country's industry came to
rival it: Germany's. The country's defeat in World War I
led to economic hardship and massive inflation, and, at the
same time, a blossoming of the arts that was hugely influential on the rest of the world. This Weimar culture lasted
until the Nazis came to power in the early 1930s, which led
to a mass exodus of talent to Paris, London, New York and
Los Angeles. German Expressionist masters such as Fritz
Lang and Karl Freund (who was later invited into ASC
membership) came to Hollywood and helped define film
noir - but the German influence on Hollywood began
much earlier than this, and American Cinematographer was
covering the trend from its inception.
74
February 2020
German Expressionism is often used as shorthand for
Weimar German cinema, though only a dozen or so of the
many hundreds of films made during the period can really
be labeled as Expressionist. The name came from an
art movement that began before the war and gained
mainstream popularity during the postwar period.
Expressionism's emphasis on aesthetic exaggeration and
the externalization of the psyche moved into several art
forms, including theater and graphic art. Though films that
could definitely be categorized as Expressionist were small
in number, many of them made the biggest impact and
have stood the test of time, including The Cabinet of Dr.
Caligari (1920, directed by Robert Wiene and shot by Willy
Hameister) and Faust (1926, directed by F.W. Murnau and
American Cinematographer - 100 Years
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Contents
American Cinematographer - February 2020 - Cover1
American Cinematographer - February 2020 - Cover2
American Cinematographer - February 2020 - 1
American Cinematographer - February 2020 - Contents
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