<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["fr", "en"].<end_of_turn>
<start_of_turn>user
Décrivez les grandes étapes historiques du cinéma allemand.<end_of_turn>
<start_of_turn>model
Reorganized in 1917 around a single production unit (UFA), German cinema achieved its first successes with historical dramas such as Du Barry (1919), by Ernst Lubitsch (1892-1947). Invited to work in Hollywood, the latter became famous in the register of light comedy (Lady Windermere's Fan, 1925).
However, the post-war period was above all the great era of expressionism, whose cult works were The Cabinet of Doctor Caligari (1920), by Robert Wiene (1881-1938), the Three Lights (1921), by Fritz Lang (1890-1976), Nosferatu the Vampire (1922), by Friedrich Wilhelm Murnau (1888-1931), and The Cabinet of Wax Figures (1924), by Paul Leni (1885-1929). Carl Mayer (1894-1944), co-writer of The Cabinet of Doctor Caligari, also wrote the scripts for several Kammerspielfilme (“chamber films”), intimate dramas where the camera sometimes takes the place of a character to better express their feelings. Thus, in The Last of Men (1924), Murnau uses complex camera movements, superimpositions, blurred images and distorting mirrors to suggest the despair and humiliation of the main character, a hotel doorman stripped of his status as a respected employee.
The economic crisis that Germany was going through provided the backdrop for realistic dramas such as The Street Without Joy (1925) and Loulou (1929) by Georg Wilhelm Pabst (1885-1967). Many German filmmakers left their country at the advent of Nazism. Lang, Murnau, Leni, but also Robert Siodmak (1900-1973), Max Ophuls (1902-1957) and the Austrian Billy Wilder (1906-2002), among many others, will work in the United States after a few films shot In France.<end_of_turn><eos>