Abstract According to many researchers, Russian formalists do not want recognize the influence of German expressionism on their work. This statement leads a distinction between both theories in fields, such as field cinema. In this sense, it is common read nuanced definitions and formalism. The present article tends verify truthfulness these show that formalism could be an extension through ana...

The purpose of this paper is to investigate the relationship between German Expressionist film and Hegel’s system of aesthetics. Through an analysis of the aesthetic qualities of Hanns Ewers’ The Student of Prague (1913) and F.W. Murnau’s Faust, I believe we have evidence to believe that the subjectivity that German Expressionist film sought to capture is aligned with the ‘interiority’ that Heg...