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Joyless Street (German: Die freudlose Gasse), also titled The Street of Sorrow or The Joyless Street, [3] is a 1925 German silent film directed by Georg Wilhelm Pabst starring Greta Garbo, Asta Nielsen and Werner Krauss. [4] It is based on a novel by Hugo Bettauer and widely considered an expression of New Objectivity in film. [5]
German Expressionism was an artistic movement in the early 20th century that emphasized the artist's inner emotions rather than attempting to replicate reality. [1] German Expressionist films rejected cinematic realism and used visual distortions and hyper-expressive performances to reflect inner conflicts. [2]
It was the last East German film released to the public prior to the German reunification and one of the last films made by DEFA, the East German state film studio, and the only gay-themed feature film that it made. [2] The film premiered at the Kino International in Berlin on 9 November 1989, the night that the Berlin Wall was opened. [2]
Street, Berlin depicts a busy street scene as men and women walk down the sidewalk. Two women in the central foreground are the focal point of the piece. The woman on the left wears a purple dress, a pop of color which contrasts with the mostly black clothing of the men that surround the pair.
Berlin Street Scene (German: Berliner Straßenszene) is a 1913 painting from the cycle Street scenes, by the German expressionist artist Ernst Ludwig Kirchner.The cycle, created by Kirchner between 1913 and 1915, often depicts "Kokotten" (prostitutes) with their clients, and is regarded as one of the most important works of German Expressionism.
In the movie a new jurisdiction is seen to help with the resocialisation of former petty criminals into the system of the GDR. Directed by Joachim Kunert. The Young Lions, 1958 – a German ski instructor is hopeful that Adolf Hitler will bring new prosperity to Germany, so when war breaks out he joins the Wehrmacht and travels to Berlin ...
Domestically, the German movies improved their market share of about 16% in 1996 to around 30% in 2021., [62] so the movie culture is partly recognized to be underfunded, problem laden and rather inward looking.
The viewer sees several children running around, and the protagonist ambling up the street. The viewer also sees German citizens working together to clean up, and getting on with their lives, despite the devastation. Critics have observed similarities between the rubble film aesthetic and Weimar era Expressionism, as well as Romanticism.