Samenvattingen(1)
The influence of German cinematography on the formation of the noir film was enormous, although occasionally, in scholarly discussions, it overshadows other key factors. Most notably, inspiration from German Expressionism is often exaggerated. Conversely, the effect of other cycles and tendencies is diminished. One of the overlooked directions is the so-called street film (Strassenfilm), which, during the Weimar Republic (1918–1933), became a concise expression of modernism and urbanization. Karl Grune´s film addresses the dangerous seductiveness of the big city, and in the film, we can identify a number of visual and narrative motifs that were absorbed by film noir twenty years later: the hero who hastily gives in to temptation; the femme fatale; high-contrast lighting; and mise-en-scène reflecting the subjective states of the characters. (Noir Film Festival)
(meer)Acteurs
Anton Edthofer
Oostenrijk-Hongarije
Beste films:
Phantom (1922)
Die Straße (1923)
Eugen Klöpfer
Duitse Rijk
Beste films:
Der brennende Acker (1922)
Unheimliche Geschichten (1932)
Die Straße (1923)
Max Schreck
Duitse Rijk
Beste films:
Leonhard Haskel
Duitse Rijk
Beste films:
Dr. Mabuse, der Spieler (1922)
Der brennende Acker (1922)
Die Straße (1923)
Lucie Höflich
Duitse Rijk
Beste films:
Der Berg ruft! (1938)
Tartüff (1925)
Die Straße (1923)
Aud Egede-Nissen
Unie tussen Noorwegen en Zweden
Beste films:
Dr. Mabuse, der Spieler (1922)
Phantom (1922)
Hilde Warren und der Tod (1917)