The expressionist body in Robert Wiene's Orlac's Hands and Van Van Wiene's Dans ma peau de Marina.
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Abstract
This article analyses the influence of Expressionism in Robert Wiene's Orlac's Hands (1925) and Marina de Van's contemporary work Dans ma peau (2002) through the body as a space for the manifestation of identity. The theme of the expressionist body and the problematic of the split between body and mind is explored through the description and analysis of the actions of the protagonists and the transformation of their bodies. It also analyses the physicality and haptic quality of the filmic image through the fragmentation of the bodies of the characters with the use of filmic resources such as the close-up, the subjective camera and expressionist lighting effects such as chiaroscuro.
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