Following from recent scholarship in this area, this anthology will eschew the expansionist approach of Lotte Eisner and instead focus on those films that exemplify German Expressionism in the cinema. We hope to include essays on those Expressionist films that are not as widely known as some of the others, and some fresh approaches to a few of the best known films.
To this end, we intend to structure the book in two sections.
Contexts and Themes:
Here we are interested in essays that address key debates in Expressionist film studies, essays that examine the history and culture of German Expressionist cinema, and/or essays that explore issues of neo-Expressionism in the cinema.
In this section of the book, we hope to include essays on an array of individual films, including pre-Caligari films such as PORTRET DORIANA GREYA (Meyerhold and Doronin, 1915), J'ACCUSE (Gance, 1919), NERVEN (Reinert, 1919), HOMO IMMANIS (Czinner, 1919), INFERNO (Czinner, 1919), DIE PUPPE (Lubitsch, 1919), and RAUSCH (Lubitsch, 1919).
We also hope to include essays on such post-Caligari German films regarded as the core films of the German Expressionist period from 1920-1924 as GENUINE (Wiene, 1920), VON MORGENS BIS MITTERNACHTS (Martin, 1920), DAS HAUS ZUM MOND (Martin, 1921), and RASKOLNIKOW (Wiene, 1923).
Lastly, we hope to include essays on post-Caligari Expressionist films made in other countries, such as ORLACS HÄNDE (Wiene, 1924), DON JUAN ET FAUST (L'Herbier, 1922), LE BRASIER ARDENT (Mozzhukhin, 1923), THE FALL OF THE HOUSE OF USHER (Watson, Webber 1928), LIMITE (Peixoto, 1931), DOS MONJES (Oro, 1934), and IVAN GROZNYY (Eisenstein, 1944).
We are currently soliciting essays of roughly 4,000-8,000 words each that can be completed by February 2012.
Please feel free to contact either or both of us with regard to any queries.
Olaf Brill, CineGraph: email@example.com
Gary D. Rhodes, The Queen’s University–Belfast: firstname.lastname@example.org
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Last update (this page): 24 Nov 2010.
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