Skip to main content
Presented to you through Paradigm Publishing Services

Edinburgh University Press

Visit our Partner Page See all our books
Chapter Publicly Available

Traditions in World Cinema

  • and
© 2022, Edinburgh University Press, Edinburgh

© 2022, Edinburgh University Press, Edinburgh

Chapters in this book

  1. Frontmatter i
  2. CONTENTS v
  3. List of Illustrations vii
  4. List of Contributors xi
  5. Traditions in World Cinema xv
  6. Introduction 1
  7. PART I. EXPRESSIONISM IN GERMAN CINEMA
  8. 1. Expressionist Cinema—Style and Design in Film History 15
  9. 2. Of Nerves and Men: Postwar Delusion and Robert Reinert’s Nerven 41
  10. 3. Franjo Ledic: A Forgotten Pioneer of German Expressionism 65
  11. 4. Expressionist Film and Gender: Genuine, A Tale of a Vampire (1920) 77
  12. 5. “The Secrets of Nature and Its Unifying Principles”: Nosferatu (1922) and Jakob von Uexküll on Umwelt 93
  13. 6. Raskolnikow (1923): Russian Literature as Impetus for German Expressionism 117
  14. PART II. EXPRESSIONISM IN GLOBAL CINEMA
  15. 7. The Austrian Connection: The Frame Story and Insanity in Paul Czinner’s Inferno (1919) and Fritz Freisler’s The Mandarin (1918) 133
  16. 8. “The Reawakening of French Cinema”: Expression and Innovation in Abel Gance’s J’accuse (1919) 145
  17. 9. Here Among the Dead: The Phantom Carriage (1921) and the Cinema of the Occulted Taboo 169
  18. 10. Drakula halála (1921): The Cinema’s First Dracula 190
  19. 11. Le Brasier ardent (1923): Ivan Mosjoukine’s clin d’oeil to German Expressionism 220
  20. 12. Nietzsche’s Fingerprints on The Hands of Orlac (1924) 235
  21. 13. “True, Nervous”: American Expressionist Cinema and the Destabilized Male 248
  22. 14. Dos monjes (1934) and the Tortured Search for Truth 266
  23. 15. Maya Deren in Person in Expressionism 287
  24. Index of Names 303
  25. Index of Film Titles 309
Download chapter
Expressionism in the Cinema
This chapter is in the book Expressionism in the Cinema
https://doi.org/10.1515/9781474403269-003

Chapters in this book

  1. Frontmatter i
  2. CONTENTS v
  3. List of Illustrations vii
  4. List of Contributors xi
  5. Traditions in World Cinema xv
  6. Introduction 1
  7. PART I. EXPRESSIONISM IN GERMAN CINEMA
  8. 1. Expressionist Cinema—Style and Design in Film History 15
  9. 2. Of Nerves and Men: Postwar Delusion and Robert Reinert’s Nerven 41
  10. 3. Franjo Ledic: A Forgotten Pioneer of German Expressionism 65
  11. 4. Expressionist Film and Gender: Genuine, A Tale of a Vampire (1920) 77
  12. 5. “The Secrets of Nature and Its Unifying Principles”: Nosferatu (1922) and Jakob von Uexküll on Umwelt 93
  13. 6. Raskolnikow (1923): Russian Literature as Impetus for German Expressionism 117
  14. PART II. EXPRESSIONISM IN GLOBAL CINEMA
  15. 7. The Austrian Connection: The Frame Story and Insanity in Paul Czinner’s Inferno (1919) and Fritz Freisler’s The Mandarin (1918) 133
  16. 8. “The Reawakening of French Cinema”: Expression and Innovation in Abel Gance’s J’accuse (1919) 145
  17. 9. Here Among the Dead: The Phantom Carriage (1921) and the Cinema of the Occulted Taboo 169
  18. 10. Drakula halála (1921): The Cinema’s First Dracula 190
  19. 11. Le Brasier ardent (1923): Ivan Mosjoukine’s clin d’oeil to German Expressionism 220
  20. 12. Nietzsche’s Fingerprints on The Hands of Orlac (1924) 235
  21. 13. “True, Nervous”: American Expressionist Cinema and the Destabilized Male 248
  22. 14. Dos monjes (1934) and the Tortured Search for Truth 266
  23. 15. Maya Deren in Person in Expressionism 287
  24. Index of Names 303
  25. Index of Film Titles 309
Downloaded on 7.5.2026 from https://www.degruyterbrill.com/document/doi/10.1515/9781474403269-003/html?lang=en
Scroll to top button