An examination of the major directors, films ("Metropolis," "Cabinet of Dr. Caligari," "Nosferatu"), themes of power relations, styles and characters.
Written in 2000; 1,575 words; 4 sources; $ 55.95
From the Paper:
"According to Siegfried Kracauer, "the character of Caligari . . . stands for an unlimited authority that idolizes power." This idea is applicable both to Caligari and to the master of Metropolis, a man who is a virtual dictator and who has an entire class of people who serve the needs of the machine and so the city and have no other purpose in life. The central metaphor of the film is the transformation of a robot into a woman, and for leaders like Joh Fredersen, there is an entire class of human beings who are nothing but robots.
Power relations in The Cabinet of Dr. Caligari (Robert Wiene, 1920) are displayed through exaggeration. The mesmerist holds power over the somnambulist with the power of his eyes, with gestures, and with direct orders. Power is a central motif in the town depicted, with high officials showing their power by..."
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