Modern Urban and Industrial Life
Modern Urban and Industrial Life. The work is to be 7 pages with three to five sources, with in-text citations and a reference page. From the opening credits, its easy to see how American critiques could have confused The Cabinet of Dr. Caligari (1919) as a cubist. The slanted and oblique patterns with the actors and directors names placed on top of them seem to represent a multitude of perspectives, and it isnt until the movie begins that its clear they represent the uniform, expressionist agenda of a Germany with deep-rooted anxieties about modern industrial and urban life.The film begins with an iris-in of Francis in the asylum. It is oddly appropriate as, with the darkness closing in, the iris seems to represent a telescopic view of his troubled soul. In fact, the film makes use of editing to cut to the deep focus set-up that features Jane walking toward the camera and then back to the dark and troubling iris surrounding Francis. We initially find Caligari registering his somnambulist for the carnival. He seems somewhat out-of-place in the well-lit setting and the mise-en-scene even positions him well-below the registrar, almost as if the registrar represents the established governmental authority that Caligari is attempting to replace. The crooked lettering given to the Caligari subtitle serves to further remove Caligari from his surroundings and cast him as an uncanny element. We next find him at the Carnival with a small group of on-lookers. The scene cuts to a news flash discussing the death of two people and then cuts back to Caligari with an even larger crowd gathered around. Its as if the elder Caligari is attempting to hypnotize the on-lookers into his nefarious schemes, with the increasing numbers of people representing his success. Cesare is introduced from his casket with foreboding iris shots surrounding him and Caligari, and you can envision the German public looking at the somnambulist as if in a mirror, with deep-seated anxieties about .their industrialized world.