Comparing the films made by local American directors in the silent film era and the films made by German and directors in the United States, I personally feel that the overall film quality is 10 years worse.
Whether it is scene scheduling or editing, it is worth learning. The rhythm is good, there is rhythm tension inside, and internal tension is added to the editing. This very contrast editing technique is great! Both internal and external languages enrich the visibility of the story, that is, it is artistically expressed, and it also takes into account the commercial factors of the audience.
The ending represents its commercial film attributes. German expressionist films can draw on too many things. The restraint and performance of this performance, coupled with the rendering of the overall lens atmosphere, its relationship with film noir, and the Soviet-style left-wing montage Schools have relationships, and all have to be inherited and connected. In Mornaud's personal style, he has a good grasp of the rhythm, creates suspense in the camera, and has a very strong ability to draw the audience. Watching American silent films, looking at large blocks of color, and watching Mornold films, you can see large blocks of color, and you can see the delicate lines in the color blocks.
Mornau, Germany, although the film has to go to a perfect reunion structure, this structure brings out Mornau's distrust of people, the sadness and fragility in his bones.
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