Robert Wiene's "The Cabinet of Dr. Caligari" (1920) is probably the first production to explore these ideas in full. Its painted and non-realistic sets were built with exaggerated geometry that created a new sense of space. Images painted on the floors and walls represented objects or light and shadow, and supported the story about the character's dark hallucinations quite well.
Making a Virtue Out of Necessitiy: German ExpressionismFriedrich Wilhelm Murnau's "Nosferatu" (1922), and Carl Boese and Paul Wegener's "The Golem: How He Came Into the World" (1920) are other famous examples of that style.
Next to these fims Fritz Lang's "Metropolis" (1927) and his "Die Nibelungen", Ernst Lubitsch's "Madame Du Barry" (1919) and Friedrich Willhelm Murnau's "The Last Laugh" (1924) are among the most noted ind influential German productions of this era.
After the Nazis had seized power in 1933, many members of the popular Weimar film industry like directors, actors, and cinematographers fled Germany to settle in various countries throughout the world. There they began to incorporate and reflect their ideals and techniques on the international film industry. Many settled in Hollywood and helped American cinema flourished during this period. Timeless films like "Casablanca" (1942) and "Some Like it Hot" (1959) emerged as a result.
Although expressionist elements had faded as soon as the mid-1920s, their long-term influence on world cinema is beyond controversy and particularly noticeable in American horror films, film noir, and the works of European directors like Jean Cocteau and Ingmar Bergman.
The "Golden Age of German Cinema"MoMA's exhibition "The Weimar Touch" is the second annual collaboration between MoMA, Deutsche Kinemathek, Berlin, and International Filmfestival, Berlin and honours this influential era along with its artists.
The exhibition features nearly 30 films produced from the end of the Weimar Republic up to 1959. Through style, subject matter, and personnel all of these productions were directly influenced by the "Golden Age of German Cinema". Artists from all over the world drew inspiration from themes and aesthetic ideas of very talented filmmakers and crews that helped distinguish Weimar cinema. As seen in the pieces of Fine Art of the 1930s, social cynicism and a recognition of the cruelty of the world were common themes and stood next to laughter about mistaken identities. Quite a number of productions to follow used expressionistic and stagelike settings to create impressive and artistic pictures for their audience and apply sophisticated manipulation of light and shadow.
Hitchcock & Co.: Adapting German Cinematic StyleThis exhibition offers screenings of many films, starting with Joseph Losey's 1951 remake of Fritz Lang’s 1931 classic "M" – a scenario set in contemporary Los Angeles.
Next to Losey, Alfred Hitchcock was another icon of film business who even had apprenticed in Berlin in the early 1920s. He incorporated much of the expressionist technique he had learned during his Weimar days in many of his productions, like "I Confess" (1953).
Next to these classic, the museum has unearthed recently restored treasures, some of which have not been seen in decades, and a number of lesser- known international works like Kurt Gerron’s Dutch crime drama "Het mysterie van de Mondscheinsonate" (1935). Gerron used many of the film noir techniques typical of Weimar style. He was killed in Auschwitz in 1944 leaving this film as a rare glimpse into his oeuvre.