Figure 6 shows the interior of the antique dealer’s house in The Golem. The stairway has a design that makes it look like an earlobe. The windows are distorted and other interior parts of the wall are elongated and exaggerated. These sets demonstrate a different expressionist world. Apart from the distorted sets, stylized acting is also a hallmark of expressionist film. Figure 7 shows the stylized acting of Alan as he reads the book in The Cabinet. He exaggerates his emotions of boredom and anxiety.
Figure 8 shows the praying rabbi in The Golem. They beat their chests as they pray wherein their facial expressions and gestures are overdone. The acting styles demonstrate the dominance of stylized behaviors to compensate for the absence of sound. Finally, in line with expressionist genre, these films depict dark human feelings and experiences. Figure 9 shows Cesare running away with Jane after he abducts her. Outside, the houses and poles stick out in distorted rectangular and long forms. They represent the confused and thorny state of Cesare’s mind.
Figure 10 shows the Golem inside the burning house. The fire reinforces his anger after being rejected by the woman he loves. The fire spreads too, which suggests his growing madness and rage. These films demonstrate the psychological states of darkness that come from frustrations and rejections. The Cabinet of Dr. Caligari and The Golem are characteristic German expressionist films in their ability to emphasize the inner workings of the human mind through exaggerated sets and acting and the meaningful use of chiaroscuro and abstract forms.
These films depict the challenges of reading the human mind, especially when it is troubled and
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