One of their techniques was the Dutch angle, a concept rooted in the fine arts’ discovery that compositions following horizontal and vertical lines are easier to assimilate. Murnau, Erich Pommer and Fritz Lang evoked with set designs, costumes and unusual camera shots. Subjects of Expressionist films included betrayal, suicide, psychosis, terror and other dark mental states that filmmakers like F.W. Unlike Hollywood, which was serving happy-ending storytelling to a salad-days America, the German film industry was part of an Expressionist movement in art and literature trying to digest the insanity of world war. The Dutch angle, also called the Dutch tilt and canted angle, originated with German filmmakers during World War I when an Allies naval blockade prevented films from being imported to and exported from Germany. History: “Dutch” does not refer to Holland it is a distortion of “Deutch,” which is German in German. Definition: A shot introduced by German Expressionist directors made with a tilted camera that causes the horizon in the shot to be diagonal to the bottom of the frame.
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