Der Golem, wie er in die Welt kam
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The Golem (1920) More at IMDbPro »Der Golem, wie er in die Welt kam (original title)

2013 | 2012 | 2011 | 2010

5 items from 2013

Lots of German Angst on Display in this New Anthology

22 November 2013 10:00 AM, PST | | See recent Dread Central news »

No, German Angst is not a Uwe Boll biopic, although that would seem pretty damned appropriate. What we have here, kids, is a new anthology film featuring the works of Jorg Buttgereit (Nekromantik, Der Todesking), Andreas Marchall (Tears of Kali, Masks), and Michael Kosakowoski (Zero Killed).

In 1920 Germany became the most influential production location for fantastic films. Friedrich Wilhelm Murnau’s Nosferatu, Robert Wiene’s The Cabinet of Dr. Caligari and The Hands of Orlac, Paul Wegener’s The Golem earned the German cinema the label The Demonic Screen (Lotte H. Eisner). German filmmakers told stories of the underworld beneath urban life, about the invasion of the subconscious. The frontiers between reality and dreams blurred and the fear of dark eros emerged. These masterpieces of German Expressionist cinema are the ancestors of the contemporary fantastic genre. Their influence is still felt in almost every modern film. With the Nazi dictatorship »

- Uncle Creepy

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The devil's work

26 October 2013 4:51 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

From Nosferatu to Twilight, gothic films have explored what frightens us – and why we are willing victims of our fear. A few days before Halloween, and as the BFI begins a nationwide season, Michael Newton is seduced by horror, sex and satanism

Beyond high castle walls, the wolves howl. The Count intones: "Listen to them! The children of the night! What music they make!" And those words usher you into a faintly ludicrous cosiness, the comfortable darkness of gothic. For gothic properties are altogether snug, as familiar as Halloween costumes – a Boris Karloff mask, the Bela Lugosi cape, an Elsa Lanchester wig. So it is that many of us first come to the form through its parodies; I knew Carry On Screaming! by heart before I saw my first Hammer film. And yet, within the homely restfulness, something genuinely disturbing lurks; an authentic dread. And watching these films again, we »

- Michael Newton

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Clip joint: ghettos

28 February 2013 7:08 AM, PST | The Guardian - Film News | See recent The Guardian - Film News news »

From the narrow streets of medieval Prague to the rubbish dumps of Rio De Janeiro, here are five of the best ghettos featured in films

This week's clip joint is from Claire Adas - check out more of her writing on her blog here. If you have an idea for a future clip joint, email

Every city has its shantytowns, tenements, projects and favelas; ghettoes in which people are thrown together, joined by race, religion or, most frequently, poverty. Theses spaces form a teeming world of their own within the larger macrocosm of the city, connected but self-contained. Life is stacked upon life in a confined area, making the situation rife for story telling; a perfect stage setting of tension and drama.

The term "ghetto" has expanded somewhat from its original use in the 11th century, when it specifically described the part of a city where Jews could live. »

- Guardian readers

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Deadpan in Nulltown

18 February 2013 5:17 AM, PST | MUBI | See recent MUBI news »


The authors wish to acknowledge with gratitude the venues in which some version of this article previously appeared: Cinema Scope 24 (Fall, 2005), Trafic 62 (Summer, 2006), and the late and twice-lamented The New-York Ghost (Dec. 26, 2006).

In the Place of No Place

Every movie contains its alternates, phantom films conjured variously by excess or dearth: textures and movements that carry on their own play apart from the main line of the narrative, an obtruding performance or scene, an unexplained ellipsis or sudden character reversal, the chunk life of an object seizing the frame in an insert whose plastic beauty transcends its context.

Though the extremes of pure narrative economy (in which each detail exists purely for transmission of plot) or utter dispersal (in which no piece connects to any other) can never exist, we can tentatively use the concepts as limit-cases to differentiate films which make room for their phantoms (or, in the worst case, »

- B. Kite and Bill Krohn

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The 300 Greatest Films Ever Made (Part 14)

14 January 2013 10:45 PM, PST | Cinelinx | See recent Cinelinx news »

Our daily countdown continues with part 14 out of 30, in our list of the 300 Greatest Films Ever Made. These are numbers 170-161.


170) Way Out West (1937) James Horne USA


169) Topper (1937) Norman McCleod USA


168) Giant (1958) George Stevens USA


167) The Golem (1920) Paul Waggoner German Silent


166) Little Caesar (1930) Mervyn LeRoy USA


165) The Mummy (1932) Karl Freund USA


164) The Man Who Would Be King (1975) John Houston USA


163) Gigi (1958) Vincent Minnelli USA


162) Goldfinger (1964) Guy Hamilton USA


161) The Caine Mutiny (1954) Edward Dmyrky USA

 Numbers 160-151 coming next.

film cultureClassicslist300 »

- (Rob Young)

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2013 | 2012 | 2011 | 2010

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