By Lotte H. Eisner, Roger Greaves
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Extra info for The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt
Sample text
R (() claim Reinhardt himself as an I. \I'rl"'>,>h 1111'[. , hoth tl'mpl'ral1ll'l1t and style. , . l. Hl' IUl1hdfhad littk to do with these productions. lt. · ;\·ttx Iklllhardt. l[d Y Ignore the experil11cnts of the Expressionists. already Ilustered all the secrets of lighting. alway, becn fond of clothing shapes in warm light . pdllllg from innumerable invisible sources, of rounding, melmlg and hollowing his surfaces with velvety shadows. ,ok- aim \\'as to do away with the Verism and Illctll'ldou\ Naturalism of the previous generation.
Metzner in I <)28 for his short film Ol)('}/all, in which the dreams of a wounded man knocked unconscious by a thug are reflected in concave or convex Inirrors. But there is one film in particular in which the director, while taking advantage of all the previous Expressionist experiments, transposes the traditional technique: Cchcil11lIiss(' ciller Sedc (Secrets of a SOli I, 1920) by Pabst. Certain shots representing the dre LItd thO'll' Iuzy Imaginings which shade so easily into the lIltinltl' deprll'i of that fragment of space-outside-time, till' ,alTn. lx Jkmlurdt. had been the first to grasp this, In his puhhl' 1t'l'tUH' in April 1916 on the artistic possibilities of till' ,,'merna, already quoted, Wegener told the followIng anccdote, In 1913 a series of comic photographs of a nun felll'ing and playing cards with himself had made tum rl'ahze that the cinema was better equipped than any other an-t()rm to capture the fantastic world of E.