Here is the synopsis of our sample research paper on 1920s’ Berlin, German Expressionism, and the Architecture and Lighting in Orson Welles’ Film The Trial. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
In eight pages this paper examines how Welles’ utilized architecture and lighting in his 1962 film The Trial to communicate what was happening in Berlin and the rest of Germany during the 1920s, with German Expressionism among the topics of discussion. Four sources are listed in the bibliography.
Page Count:
8 pages (~225 words per page)
File: TG15_TGowtrial.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
throughout Europe were thriving economically as was the United States, Germany was struggling under crippling war debts and a growing apathy among the citizens and others who settled there.
Disillusioned expatriate artists prowled the streets of Paris and Berlin in hopes of finding a reason to go on living after being surrounded by remnants of death and destruction.
Although the Industrial Revolution entered Germany relatively late in comparison to the rest of Europe, its transformation of the country "was terrifyingly rapid" (Whyte 256). It fervently believed industrialization
would be the solution to its many social and economic problems. Nevertheless, this same technology had transformed flesh and blood human beings into killing machines in the Great War.
Expressionism as an artistic genre grew as an emotional reaction against the dehumanizing aspects of technology and industrial society. The architecture of the German Expressionists was designed to
serve "as a response to... the industrial city" (Whyte 256). Unfortunately, Berlins Old World charm was replaced by "dark and insanitary Berlin Mietskaserne (rental barracks), and although people were
living in close physical proximity in these urban centers, they were becoming emotionally isolated from each other (Whyte 256). The avant-garde Expressionists were predicting an urban catastrophe even before
the First World War, and within the ruins that still existed in the 1920s, this seemed even more likely (Whyte 258). Expressionism sought to bring order to chaos in
hopes that emotional outbursts could generate light in increasing darkness (Whyte 270). In the repetitive shapes and lines of these buildings, there was reassurance that there would be safe
havens in this new and uncertain world. However, as Franz Kafka and others living in Berlin at the time soon discovered, "With the powers and limits of imagination unchallenged,
...