Expressionism in the Cinema

'Expressionism in the Cinema is itself a production of variegated efforts. It is diverse. It is polytechnic. It ranges from the purely Expressionistic production to the margins of Expressionistic influence. It combines fine critical insights with imaginative intellectual linkages. In this manner, the authors do in fact achieve an authoritative appraisal of Expressionist cinema, both within and without Germany.'--Andrew Thomas Croft, Forest Independent Primary Collegiate "Historical Journal of Film, Radio and Television"
The essays in Brill and Rhodes' Expressionism in the Cinema not only extend the scholarship on Expressionist films, though that, in itself, would be ample contribution. They also capture the essence--the imagery, the irony, the worldview--that animates these films, and create thoughtful connections to wider social and cultural processes.--Cynthia Miller, Emerson College
This wide-ranging collection reworks the canon of Expressionistic cinema--which means it goes beyond the handful of German titles likely familiar to film buffs. The book's fifteen essays revisit key German films like The Cabinet of Dr. Caligari (1920), Nosferatu (1922), and The Hands of Orlac (1924), and also provide new consideration of more obscure titles like Nerven (1919), The Phantom Carriage (1921) and other films produced outside Germany--notably in France, Sweden, Hungary, Austria and elsewhere. For me, the real eye opener is Rhodes' contribution to the book, "Drakula hal?la(1921): The Cinema's First Dracula." Yes, you read that right. There was a "Dracula film" before F. W. Murnau's classic Nosferatu (1922), and before Tod Browning's familiar Dracula (1931)...In his fascinating essay, Rhodes argues that Drakula hal?la beat Nosferatu to the punch. Or should I say, it got the first bite.'--Thomas Gladysz "The Huffington Post"