At the beginning of the 20th century, while the Expressionist movement was emerging in Germany, a new form of art took its first steps, combining image, language, and music: cinema. In Germany, Expressionist aesthetics had an enormous influence on this new medium, which can be seen in films such as The Cabinet of Dr. Caligari (1920), The Golem (1920), Nosferatu (1922) or Metropolis (1927) and has left its mark to this day. This volume analyzes how themes, motifs, myths, and aesthetics of the expressionist cinema of the 1920s continue to impact the audiovisual media into the 21st century and what influence they still exert on Myth Criticism or popular genres such as Fantasy, Horror, or Science Fiction.

Autorentext

Prof. Dr. Paloma Ortiz-de-Urbina lehrt seit 1997 Germanistik und Musikwissenschaft an der spanischen Universidad de Alcalá, Madrid. Sie forscht im Bereich der spanisch-deutschen Kulturrezeption, insbesondere in der Musik- und Filmrezeption, und hat zahlreiche Bücher und Artikel zu diesem Thema veröffentlicht. Seit 2012 ist sie Leiterin der Forschungsgruppe Reception Studies (RECETPION) der Universidad de Alcalá und Principal Investigator in der AGLAYA-Gruppe für kulturelle Myth Criticism.

Inhalt
Acknowledgements Paloma Ortiz-de-Urbina: Introduction - The Reception of German Cinematic Expressionism: A Multidisciplinary, International and Contemporary Phenomenon 1 EXPRESSIONISM, CINEMA, AND LITERATURE Carmen Gómez Garcia: The debate over cinema in expressionist literature Julia Magdalena Piechocki-Serra: Utopie und Dystopie in Die andere Seite (1909) von Alfred Kubin und Midsommar (2019) von Ari Aster Cristina Zimbroianu: Alfred Döblin's Berlin Alexanderplatz in Francoist Spain 2 EXPRESSIONISM, CINEMA, AND MUSIC Magda Polo Pujadas: Begleitungsmusik zu einer Lichtspielscene op. 34 by Arnold Schönberg - Programmatic music conceived as pure music? Jesús Ferrer Cayón: The "expressionist impact" of DieTeufel von Loudun (Krzysztof Penderecki, 1969) in the film-opera for TV, by Joachim Hess and Rolf Liebermann 3 EXPRESSIONISM IN AUDIOVISUAL MEDIA Maria Carmen Gómez-Pérez: Homage to German Expressionist Cinema: von Sternberg's Proposal Celia Martinez Garcia: The long shadow of German Expressionism in Die Mörder sind unter uns Manuel Maldonado-Alemán: Simulation, Überwachung und fremdbestimmte Identität - Die urbane Dystopie in Dark City Carlo Avventi: Moderne Abgründe - Die dämonische Leinwand des David Lynch Luis N. Sanguinet: Von Caligari zu Mr. Robot: Das selbstreferenzierende und verdoppelnde Erbe des expressionistischen Kinos 4 EXPRESSIONIST MYTHS IN THE AUDIOVISUAL CULTURE 4.1 The Myth of the Vampire. The legacy of Murnau's Nosferatu Ingrid Cáceres-Würsig: Nosferatu als ästhetisches und kosmogenetisches Muster für Vampir-Serien in Streaming-Diensten Jorge Marugán Kraus: Vampires, Oral Fixations and their Connection with Sexuality in Two Films: Nosferatu: a Symphony of Horror by Friedrich Wilhem Murnau (1922) and Bram Stoker's Dracula by Francis Ford Coppola (1992) . Francisco Javier Sánchez-Verdejo Pérez: The femme fatale in Victorianism and the fin-de-siècle: feminine vampiric duality 4.2 The Myth of the Golem and the Artificial Intelligence Roland Innerhofer: Der künstliche Mensch im Expressionismus - Zur Faszination einer Filmfigur Maria Jesús Fernández-Gil: Conflicting Narratives - The Otherness within Expressionist Approaches to the Golem vs Cynthia Ozick's Affirmation of the Myth's Jewishness 4.3 The Myth of Faust Emilio Sierra Garcia: Faust in Murnau and Sokurov - From Cinema to the Sense of Myth 5 THE EXPRESSIONIST AESTHETIC OUTSIDE EUROPE Montserrat Bascoy & Lorena Silos: Expressionistic Trends in Persepolis: The Role of Fantasy in Narratives of Memory Satoru Yamada: The Failure of the Diffusion of German Expressionist Cinema in Japanese Cinema by Benshi through The Cabinet of Dr. Caligari Contributors Bibliography