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  • Tabu was made by Murnau, one of the most acclaimed filmmakers of Weimar Expressionist cinema. What thematic concerns and aesthetic features does it actually share with Expressionist cinema Can it justifiably be classified as an Expressionist film

Tabu was made by Murnau, one of the most acclaimed filmmakers of Weimar Expressionist cinema. What thematic concerns and aesthetic features does it actually share with Expressionist cinema Can it justifiably be classified as an Expressionist film - Essay Example

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Tabu was made by Murnau, one of the most acclaimed filmmakers of Weimar Expressionist cinema. What thematic concerns and aesthetic features does it actually share with Expressionist cinema Can it justifiably be classified as an Expressionist film

This essay discusses the impact of totalitarian dictatorship upon national cinemas, focusing primarily on Nazi Germany.
Documentary films had the purpose of publicising manipulated information about both international and local occurrences, even though totalitarian dictatorship regimes accommodate obviously non-political newsreels. German National Socialist officers planned to take advantage of the capacity of entertainment cinema to secretly persuade, manipulate, and indoctrinate (Brockmann 186-187). In the context of national cinema and censorship agencies that totalitarian dictatorship governments built in the 1930s the link between propaganda and entertainment, artistic production, and ideology were persistently discussed.
However, despite of the various intensities of the impact of totalitarian dictatorship on national cinema, there was a general opinion about the economic and cultural value of national cinemas. World War I had shown the capacity of national cinema as a medium of propaganda; World War II would make sure that this capability is exploited. But it was not just during periods of all-out war and totalitarian dictatorship that national cinema had a propagandistic function (Ades & Gallery 139). The interwar period witnessed an increased recognition of the importance of cinema as a vehicle of national ideology and a medium for endorsing principles and ideas to the masses. In particular, the international setting during the 1930s was characterised by rivalling forms of government and ideologies fighting for power and status; while this occurred alongside the establishment of cinema, which made the dissemination of cultural principles and political ideals wider and stronger, cinema gained a bigger than ever value as a state machinery (Ades & Gallery 139-141). Although it was totalitarian dictatorship regimes that cinema was exploited most openly for propagandistic intentions, democratic regimes were worried as ...Show more
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Even though radio was perhaps the main medium of information, propaganda, and brainwashing for the entire reign of totalitarian…
Tabu was made by Murnau, one of the most acclaimed filmmakers of Weimar Expressionist cinema. What thematic concerns and aesthetic features does it actually share with Expressionist cinema Can it justifiably be classified as an Expressionist film
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