Fritz Lang's films are influenced by German Expressionism, which originated in Germany in 1919 and ended in 1930. Extreme stylised mise-en-scène is employed to make the formal organisation of the films obvious (Cook 1999, p. 67). The main concern of German Expressionist films is to create a phantasy world, which is in stark contrast to the real world in order to reflect upon social grievances and chasms:
Expressionism […] is a reaction against the atom-splitting of Impressionism, which reflects the iridescent ambiguities, disquieting diversity, and ephemeral hues of nature. At the same time Expressionism sets itself against Naturalism with its mania for recording mere facts, and its paltry aim of photographing nature or daily life. The world is there for all to see; it would be absurd to reproduce it purely and simply as it is. (Eisner 1969, p. 10)
This is especially evident in Fritz Lang's revolutionary filming technique as the employed shot types and angles enhance angst and paranoia in the spectator. M and The Woman in the Window are also influenced by so-called 'Kammerspiel'-films of the 1920s, through which a new psychological realism emerged. The introduction of sound made it possible for Lang to represent the individual psyche through the character's speech.
Fritz Lang uses universal symbols as a bridge between the character's inner state and the outer world. This also derives from German Expressionism, which aims to discuss low-life subject matters. In M, symbols are used to add further layers of meaning to the film and to foreshadow its plot, whereas in The Woman in the Window they mainly function as symbols of masculinity.
In this essay, the influence of German Expressionism on Fritz Lang's films is discussed by closely analysing and explaining key scenes. It aims to show how the auteur uses key features of this movement to depict the dark chasms of human society.
Table of Contents
1. Introduction
2. Filming Techniques and Expressionist Influence
3. The Representation of the Individual Psyche
4. Sound as a Narrative Tool
5. Universal Symbols and Psychological Meaning
6. The City as a Symbol
7. Conclusion
Objectives & Themes
This essay explores the profound influence of German Expressionism on Fritz Lang's cinematic style, specifically analyzing how the auteur utilizes formal elements to reflect social chasms and the individual human psyche in M: A City Searches for a Murderer and The Woman in the Window.
- Analysis of Expressionist mise-en-scène and filming techniques.
- The impact of 'Kammerspiel' film traditions on psychological realism.
- The narrative and atmospheric function of sound and leitmotifs.
- Symbolism regarding time, mirrors, and urban space.
- Exploration of gendered symbolism and phallocentrism in film narratives.
Excerpt from the Book
Universal Symbols and Mirrors
Fritz Lang uses universal symbols which add mood and deeper meaning to his films as a bridge between the character's inner state and the outer world. However, a distinction has to be made between the symbols embodied in M and The Woman in the Window: In M, psychoanalytic symbols prevail, whereas The Woman in the Window is dominated by symbols of masculinity. The two films have in common that clocks are employed to reflect upon humanity's obsession with time and ageing. This is made evident in a direct reference to ageing in The Woman in the Window, when Wanley complains “Life ends at 40. I hate this stolidity, this stodginess I'm beginning to feel.” In this film, clocks have an additional function: an ornamental clock dial is laid over Wanley's back when he and his friends enter the club in order to mark a progress in time. Clocks also play a distracting role in M: When Frau Beckmann is waiting for Elsie to come home from school, she is looking onto a cuckoo clock on her wall, which marks the hour of noon. This is filmed from a point-of-view shot. In the next frame the ringing of a big bell coming from an off-screen church or a municipal building is heard, thereby extending the off-screen space (cf. Gunning 2000, p. 168). Clocks appear later in the film as well: When the criminals are waiting for their ringleader Schränker, who is always on time, one of the members takes out several pocket-watches. He needs the reassurance that he is in control of his own time.
Summary of Chapters
1. Introduction: Introduces the influence of German Expressionism on Fritz Lang and outlines the essay's focus on analyzing key scenes to reveal underlying social commentary.
2. Filming Techniques and Expressionist Influence: Examines how specific shot types and camera angles are used to mirror the paranoia and inner turmoil of the characters.
3. The Representation of the Individual Psyche: Explores the connection to 'Kammerspiel' theater to illustrate character psychology and the blurring lines between humans and monsters.
4. Sound as a Narrative Tool: Discusses how Lang uses asynchronous sound and leitmotifs to represent the internal state of characters and manipulate off-screen space.
5. Universal Symbols and Psychological Meaning: Analyzes recurring symbols like clocks and mirrors as bridges between the characters' internal states and external reality.
6. The City as a Symbol: Investigates the urban environment in M as a representation of social structure and the forces acting upon the individual.
7. Conclusion: Summarizes how the synthesis of Expressionist techniques, sound design, and symbolism effectively reveals deep-seated human and social tensions.
Keywords
Fritz Lang, German Expressionism, M, The Woman in the Window, Mise-en-scène, Psychological Realism, Kammerspiel, Symbolism, Sound design, Cinematography, Phallocentrism, Doppelgänger, Urban space, Narrative, Film theory.
Frequently Asked Questions
What is the primary subject of this academic work?
The essay focuses on the influence of German Expressionism on the cinematic style of Fritz Lang, specifically analyzing his films M and The Woman in the Window.
Which specific films does the author analyze?
The analysis is strictly limited to Fritz Lang's M: A City Searches for a Murderer and The Woman in the Window.
What is the core research goal?
The goal is to demonstrate how Lang uses formal features—such as filming techniques, sound, and symbolism—to reflect upon the dark chasms within human society and the individual psyche.
What methodology does the author employ?
The work utilizes close scene analysis, examining formal cinematic elements and their psychological and symbolic implications in relation to established film theory.
What role does sound play in Lang's films according to the text?
Sound serves as a narrative tool to represent the individual psyche, manipulate off-screen space, and establish leitmotifs that signify character actions or themes.
How is the city of Berlin represented in M?
The city is portrayed as a symbol of the 'Übermensch' and a highly ordered, rational space that stands in stark contrast to the chaotic nature of the murderer, Beckert.
What is the significance of the mirror in the scene with Beckert?
The mirror is used to externalize Beckert's split personality, reflecting his narcissism and his psychological degradation from a man to a 'bogeyman'.
How does the author interpret the clock symbols?
Clocks are interpreted as a shared motif for humanity’s obsession with time, aging, and the human desire to maintain control over one's life progress.
What does the text suggest about the role of masculinity in The Woman in the Window?
The text argues that the film is dominated by phallic symbolism and themes of masculinity, specifically referencing the way characters handle objects like pens and scissors.
How does the Brechtian influence apply to these films?
The essay notes that the ambiguous endings in Lang's films, particularly in The Woman in the Window, align with Brechtian epic theater, forcing the audience to remain critically aware that they are watching a constructed performance.
- Quote paper
- Regina Seiwald (Author), 2010, Expressionist Style in Fritz Lang's M: A City Searches for a Murderer and The Woman in the Window, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/165501
