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Expressionism in Hitchcock's Films, 2002.
Uses Alfred Hitchcock's film, "Shadow of a Doubt" to show his use of German Expressionism to explore the darker side of the human mind.
775 words (approx. 3.1 pages), 3 sources, $ 30.95
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Abstract
Hitchcock employs many of the thematic and cinematic elements of earlier film genres; in particular that of German Expressionism. This essay will argue that Hitchcock uses the Expressionist device of the doppelganger or double to delve into the darker areas of the human mind. The brilliance of Hitchcock's employment of this in "Shadow of a Doubt", it will be argued, lies in Hitchcock's realization that the monstrous is intimately linked and may in fact be produced by, normality.
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Alfred Hitchcock Films, 2002.
Analyzes three movies by Hollywood director, Alfred Hitchcock.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
An analysis of three movies of Alfred Hitchcock, and how he deviated from Hollywood norms. By understanding the use of German Expressionism and Documentary Realism in Hitchcock's films, we can see the Hollywood glamour of moviemaking he counteracts.
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Expressionism and Abstract Expressionism., 2002.
How these movements affect art.
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
This six-page paper presents a comparative study of expressionism and abstract expressionism and the impact it has on modern art. Definitions and descriptions of each type of art are explained as well as examples of each style.
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Alfred Hitchcock, 2005.
An analysis of the impact of Alfred Hitchcock's films on British documentary realism.
1,100 words (approx. 4.4 pages), 6 sources, MLA, $ 38.95
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Abstract
This paper examines how Alfred Hitchcock's films often showed the influence of national film movements such as German Expressionism, Soviet Expressive Realism and the British Realist Documentary. It looks at how "The Lodger" (1926), and "Sabotage" (1936) provide examples of these movements from the first three periods of Hitchcock's work. In these films, Hitchcock showed his powerful mastery of the forms, and often moved them to new and deeply disturbing and moving levels. It is through his combination of techniques and themes taken from these often complex and difficult film movements that Hitchcock establishes himself as one of the most creative and influential directors of our time.
From the Paper
"During the 1920s, German film gave rise to a type of cinema that mirrored many of the conventions and styles of the expressionism art movement of the same time. This German movement "sought to express - often critically - the very essence of post-war life, its moods and concerns" (Mogg). The techniques that were used within the expressionism art movement often came from melodrama and the works of author Charles Dickens, such as Great Expectations, Oliver Twist, and A Christmas Carol. The techniques of the expressionism movement included an emphasis on irrational behavior that were often expressed through the actions of mobs and crowds (Mogg)."
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Alfred Hitchcock, 2004.
A look at the different forms of expressionistic thought exhibited in Alfred Hitchcock's films.
904 words (approx. 3.6 pages), 6 sources, MLA, $ 31.95
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Abstract
Using Alfred Hitchcock's films "Rebecca" and "Rope", this paper discusses how Hitchcock's style expresses national film movements like German Expressionism, Soviet Expressive Realism and British Social Realism.
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German Expressionism, 2004.
An analysis of German expressionism from the First World War to the end of the silent film era.
3,045 words (approx. 12.2 pages), 8 sources, MLA, $ 89.95
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Abstract
This paper argues that German expressionist cinema is the product of socio-cultural conditions in World War I and interwar Germany. It uses the history of Germany during this period in order to explain expressionist style, obsession with themes involving science, in particular psychoanalysis and overt depictions of anti-authoritarian and anti-bourgeois attitudes. Two films are used heavily to proof the influence of socio-cultural conditions, "The Cabinet of Dr. Caligari" (Robert Weine, 1919) and "Nosferatu" (F.W. Murnau, 1922).
From the Paper
"Although contemporary critics viewed the distorted scenery of Caligari as a physical representation of the disturbed mind of the film?s protagonist, Francis (Friedrich Feher), the writers intended it to represent the collective conscious of a Germany torn by war and instability (Kracauer 70). Supporting the latter claim is the fact that the framing story does not restore a ?normal? perception of the world, but continues to be punctuated by expressionist elements; the psychiatric hospital is reminiscent of expressionist architecture, with three staircases running upwards from arched doorways, and the actors maintain their expressive acting styles with overemphasized facial movements. Since the framing story acts to remove the viewer from the supernatural tale told by Francis, in order for it to be a visual representation of his mind, logically it should restore the world to one resembling ?reality,? or the way that the average spectator would view their own external world."
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World War Two and Abstract Expressionism, 2001.
An examination of a genre of art called abstract expressionism and how it expresses historical events.
4,335 words (approx. 17.3 pages), 10 sources, $ 114.95
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Abstract
A look at the impact of world wars on abstract expressionism, a genre of art. The author examines what paintings under this genre represent and how they come to play significant roles in the expression of historical events.
Table of Contents
I. Introduction
A. Brief definition of abstract expressionism
B. Examples of other relationships between artistic movements and political happenings
1. Romantic movement
2. Vietnam
C. Brief description of the effects of World War
1. effects on the U.S. economy/politics
2. effects on the people
D. Thesis as to the relationship of World War II and the rise of Abstract Expressionism
1. Three major influences
a. immigration of European artists, writers, intellectuals, scientists
b. the Surrealist movement
c. ancient influences (art)
II. Body
A. Before World War II
1. Depression
2. Thirty Years War
3. World War I
B. Historical Roots
1. the 1930s
a. political happenings/economy
b. art & the relationship between the two
2. late 1930s early 1940s
a. political happenings/economy
b. art & the relationship between the two
C. Intellectual Roots
1. Themes of Abstract Expressionism
a. the return to origins
b. the human continuum
c. conflict and the dualistic pattern of human life
d. opportunities/new beginnings
2. Heritage (Ancient influences)
3. Nature
4. the subconscious
D. Artists
1. Gesture
a. style
b. specific artists
2. Color Field
a. style
b. specific artists
3. In-between
a. style
b. specific artists
III. Conclusion
A. The evolution of art starting from the period of the 1930s (WWI, Depression, etc.) to
after World War II
1. Content
2. Purpose
3. Style
B. How World War II molded Abstract Expressionism and how the artists drew from World War II
1. the people?s responses to the war
2. united aspects of the art that showed a general feeling towards WWII
C. How, by the rising of Abstract Expressionism, modern art was affected, and how it
changed the way that people expressed their sentiments
From the Paper
"At first, there was an initial resistance to Abstract Expressionism, but by the 1950s it was recognized as the dominant force in American painting, encouraged by the government while being considered a symbol of American cultural freedom.For the first time ever, American art received widespread and serious attention in Europe. Abstract Expressionism can hardly be characterized as a single movement due to the diversity of the art it encompasses. Despite this variety, Abstract Expressionist paintings share several broad characteristics ? they are basically abstract, emphasizing free, spontaneous, and personal emotional expression, and they exercise considerable freedom of technique in order to attain this goal. The artists of this period manipulate the physical variables of the paint in order to convey expressive qualities, often on large canvases to give the visual effects an engrossing power. Abstract Expressionist artists can be divided into three categories based on style - gesture painting, such as done by Jackson Pollock, color field painting as done by Mark Rothko, or an in-between style as done by Robert Motherwell."
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German Expressionism, 2005.
This paper focuses on German Expressionism and the significance of this movement.
2,250 words (approx. 9.0 pages), 6 sources, $ 89.95
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Abstract
The paper contends that German Expressionism is far from being merely an arbitrary and specific or unique style. The paper discusses how the movement is supported by a complex theoretical framework, which is both metaphysical and based in everyday reality. The paper explains that the great significance of German Expressionism is that the movement consciously found the means to explore and to reflect people's own subjective experience even when the subject seemed to be inexpressible.
From the Paper
"Expressionism is concerned not with mere external reality but with the interior experience and reactions of the artists. German Expressionism is marked by the attempt to understand the most elusive and complex themes of the human condition, ranging from feelings of dislocation and insanity to alienation and despair. German Expressionism represents a reaction to reality, not only in terms of each individual artist but also in relation to the entire Expressionist movement. For example, the movement emerged at precisely the moment that the Industrial Revolution was gaining greater ground. German Expressionism is far from being merely an arbitrary and specific or unique style."
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Abstract Expressionism, 2007.
This paper discusses the artistic style of abstract expressionism.
877 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper explains how abstract expressionism emphasized the basic character of a person or object while having little visual reference to the real world or to nature. The paper discusses some of the artists associated with abstract expressionism that include Jackson Pollack, Willem de Kooning, Franz Kline and Mark Rothko.
From the Paper
"According to Paul Stella of the Metropolitan Museum of Art, abstract expressionism was created in the early 1940's in New York City by a small group of artists who devised "a stylistically diverse body of work that introduced radical new directions in art. Some of the artists associated with abstract expressionism include Jackson Pollack (1912-1956), Willem de Kooning (1904-1997), Franz Kline (1910-1962) and Mark Rothko (1903-1970), all of whom advanced "audacious formal inventions in a search for content" via new techniques and subject matter. Overall, the works of art that currently define abstract expressionism stand as reflections of these artist's individual psyches and their attempts to "tap into universal inner sources," meaning that abstract expressionists relied heavily on the collective unconscious in the form of archetypes that express man's most primitive and at times violent emotions ("Abstract Expressionism," Internet)."
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Realism and Expressionism in Art, 2007.
A comparison of realism and expressionism in the feminist art works of Kathe Kollwitz and Paula Modersohn-Becker.
1,326 words (approx. 5.3 pages), 8 sources, MLA, $ 44.95
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Abstract
This paper examines, compares and contrasts realism and expressionism in the works of Kathe Kollwitz and Paula Modersohn-Becker. It focuses on Modersohn-Becker's "Self-Portrait with Amber Necklace" and "Self Portrait on Her Sixth Wedding Anniversary" and Kathe Kollwitz's "Praying Girl" and "Small Self-Portrait". The paper shows how both artists comparably use a feminine self-expression, but they use differing variations of drawing and painting in their stylistic methods of art.
From the Paper
"The latest of the works that will be analyzed in this study will be the etched lithograph "Small Self Portrait" (1920) by Kathe Kollwitz. The grim countenance of the artist in this drawing reflects her old age, as well as a tired expression defining her life-long artistic commitment and loyalty to the working classes. This feminine image is not grandiose or tainted as are normative standards of beauty that were common in this period, and reveal the reality of an old woman who has seen a great many difficulties in life. In her life, she often sought out women models that reflected her "interest and sympathy for the hardships of the humble working women" (Prelinger 105). The hard lines of her face are depicted in the drawing, which connotes the hardship that she often wished to see in the working people in her community. In many cases, the dark lines and shadowing reflect the realist manner of clarity and proportion, which depict the essence of a clear-sighted view of the artist's presence. Often, this "reality" of her line and composition often dictated her desire to depict people as they appeared, not as an artist's own selfish distortion or beautification of life."
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German Expressionism, 2004.
This paper discusses German Expressionism as seen in the works of Edvard Munch and Egon Schiele.
1,808 words (approx. 7.2 pages), 7 sources, APA, $ 63.95
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Abstract
This paper compares the works of Edvard Munch and Egon Schiele. The author focuses on sexuality and other themes in their works.
From the Paper
"The style of art known as expressionism relates to a movement that began in Germany at the beginning of the ...th century. Expressionist works of art display reality through the unique and at times eerie perspective of the painter viewing the world outside from the internal depths of the psyche. With respect to art, such emotional states are expressed through distortion or deformation of objective reality. Intense color agitated brushstrokes and disjointed space are common features of German Expressionist painting as witnessed in the works of ...."
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Expressionism, 2005.
An analysis of the characteristics that are associated with the Expressionist art movement.
675 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
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Abstract
In this paper, an analysis of the characteristics that are associated with the art movement known as expressionism is provided. The paper explains that Expressionism is an outgrowth of Impressionism. The author examines the values of pictorial design and artist's and spectator's emotional response to the work of art.
From the Paper
"When a group of artists, whether they be writers, filmmakers or painters, write, make films or paint in a common manner and focus on the same themes, it is generally referred to as an art movement. Expressionism is such an art movement, one that is characterized whether it is in literature, cinema or painting by the distortion of reality to achieve a heightened emotional impact. As Dellolio explains, a central focus of expressionism is clearly the attempt to express emotional states through a distortion or deformation of..."
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Expressionism, 2003.
Describes the artistic movement in the early 20th century.
900 words (approx. 3.6 pages), 2 sources, $ 31.95
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Abstract
Discusses the concerns, subject matter, and motivations of Expressionism as a reaction to Impressionism. Compares the two movements and examines the Expressionists' concern with inner feelings of the artists.
From the Paper
"As an artistic movement, the original form of Expressionism encompassed all progressive movements from Fauvism and Cubism to Futurism and early abstract works. In its later form, Expressionism denoted the artistic movement that reached its peak in the..."
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Munch and Expressionism, 2002.
A biography of the life and works of the artist Edvard Munch.
2,782 words (approx. 11.1 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper examines the life of the German painter Edvard Munch and his influence on German Expressionism. It analyzes how the death and disease that is so much part of Edvard Munch's art was a natural consequence of the time in which he lived and the painful circumstances of his personal life. It shows how he was able to take this pain and grief and synthesize it into art and revolutionized the way visual arts were perceived. Not satisifed with the range that canvas and oil gave him, Munch turned to more innovative technique in an effort to create art that could be reproduced so he carved wood blocks and working closely with printers developed lithographic techniques that changed the way art is made.
From the Paper
"Like the paintings of the Impressionists -- especially the Post Impressionists -- Munch used tremendously bold strokes and very aggressively attacked the canvas, often scratching and etching the dry paint and applying layer after layer of thick paint in unnatural colors. Filmmaker Peter Watkins in a docu-drama film on the life of Munch does an amazing job of catching this process on film. (Watkins online) The often-sickly Munch, attacked the canvas with the same sort of physical intensity as the more robust Gaugain but of course for different effect."
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Proto-Abstract Expressionism, 1997.
Compares four art historians' views on the transitional school and the 1930s-1940s work of Jackson Pollock, Mark Rothko and Arshile Gorky.
2,250 words (approx. 9.0 pages), 4 sources, $ 79.95
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From the Paper
"Proto-Abstract Expressionism was a transitional stage in the 1940s in which the developing Abstract Expressionists produced the works that led directly to the later movement. On the question of influences and development various art historians and critics hold differing views. A comparison of the views of several writers will clarify the manner in which various sources influenced Proto-Abstract Expressionists such as Mark Rothko, Arshile Gorky and Jackson Pollock and how their works, in turn, led to the development of Abstract Expressionism.
Proto-Abstract Expressionism was developmental in nature and critics and historians do not assign a role in this stage to works that did not take in influences that were later manifested in Abstract Expressionism. Thus, for example, a historian might judge that early Regionalist-influenced works by Pollock and ..."
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