Even earlier than in photography, the shadow made its debut as the sinister extension of man in German expressionist cinema. Later fi lm makers widened the range of resources in a search for new contents which almost always had to do with the very essence of the frame, now open to the unpredictable appearance of creatures and objects of all kinds. Excerpts from fi lms by Robert Wiene, Arthur Robinson, F.W. Murnau, Fritz Lang, Lotte Reiniger, Sergei Eisenstein, Howard Hawks, Alfred Hitchcock, Woody Allen, Peter Greenaway and Quentin Tarantino will be screened in this room.
A scene from Friedrich Wilhelm
Murnau’s film Nosferatu