Avatar directed by James Cameron

Fig. 1 Box art

Avatar directed by James Cameron (2009). Jake Sully’s (Sam Worthington) twin brother is murdered and held a significant investment to the company RDA. Sully is offered to take his brothers place and is soon arriving on the moon Pandora. There he meets Grace (Sigourney Weaver) head of the science department. Sully is an ex-marine who initially helps Colonel Quaritch (Stephen Lang) gather intelligence on how to destroy the tree that is the Na’vi’s home known as Home Tree by using the Avatar to gain their trust. Sully soon discovers that the corporate figurehead Parker Selfridge (Giovanni Ribisi) intends to do whatever is necessary to obtain the precious mineral Unobtainium (which is the term used for any extremely rare, costly material). Sully starts to develop feelings for the Na’vi and falls in love with Neytiri (Zoe Saldana). As Quaritch sets about destroying the Tree of Souls Sully must help the Na’vi win the war against the humans to save their planet.

Cameron first envisioned Avatar 15 years before it was made but lacked the technology to create his work. Soon after seeing The Lord of the Rings: Return of the King, it was decided that technology could be pushed far enough to create the master piece. Avatar is a stepping stone in terms of the Computer Generated effects and technology used for future films. The technology used in avatar hadn’t be created before so it needed to be created in order to start filming. “"Avatar" is not simply a sensational entertainment, although it is that. It's a technical breakthrough” (Ebert 2009). The cameras would show the actors as a basic representation of the Na’vi in the world of Pandora, the camera could be picked up and moved around by a person showing Pandora in real time. Cameron used this to great advantage to get amazing camera angles on scenes, which really gives the viewer a sense of involvement within the film. And this new technology produced great Cinematography.

Fig 2. James Cameron with virtual camera

Avatar could be argued that it was created by the Art department and Cameron, Cameron is also an artists and knew what he wanted so he looked for the best Artists he could and it pays off. This was the major focus of this film to create an amazing fantasy world. “Cameron gives us one of the most amazing presentations ever of an alien world and builds toward an epic clash that may only have been matched twice previously in movie theaters” (Berardinelli, 2009). The world that is Pandora was created from the ground upwards, creating the eco system, various plants and animals to fit into the world. This gave the world a sense of being and that it actually existed in space. Pandora becomes even more immersive and impressive at night, when the plants and creature emit a bioluminescence, no doubt taking influences from various bioluminescence mushrooms, insects from Earth. Avatar won three Oscars being for; Best Achievement in Art Direction, Best Achievement in Cinematography and Best Achievement in Visual Effects.

Fig 3. Thanator

Music and sound FX as played a vital role in the film and transforms the visual effects into something that lives. “filled to the brim with the sounds of Pandora, the chirps and echo of military movement, and the woosh of the action beats, creating a swirling feel of community that keeps the listener engaged” (Orndorf, 2010) This combined with the visual effects creates a stunning spectacle to look at. All the sound effects where recorded live and manipulated by the sound crew on set, however some criticism says they were taken from Jurassic Park as you can distinctly make out the T-Rex and Velociraptors sounds. That aside the sounds mixed for the animals really make the film come alive. Avatar also was nominated for six Oscars three being for; Best Achievement in Music Written for Motion Pictures and, Original Score and Best Achievement in Sound Editing and Best Achievement in Sound Mixing.

Illustration List 

Cameron, J (2009) Figure 1. Box art [online] http://www.movieposterdb.com/poster/65f613e7

(Accessed on 19/11/11)

Cameron, J (2009) Figure 2. James Cameron with virtual camera [online] http://physbam.stanford.edu/cs448x/old/Optical_Motion_Capture_Guide.html (Accessed on 19/11/11)

Cameron, J (2009) Figure 3. Thanator [online] http://www.ugo.com/therush/avatar-top-things-we-want-explained-8-gallery (Accessed on 19/11/11)

Bibliography

Roger Ebert. (2009) [online] http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091211/REVIEWS/912119998/1023 (Accessed on 19/11/11)

James Berardinelii (2009) [online] http://www.reelviews.net/php_review_template.php?identifier=1931 (Accessed on 19/11/11)

Brian Orndorf (2010) [online] http://www.dvdtalk.com/reviews/43371/avatar/ (Accessed on 19/11/11)

Edward Scissorhands directed by Tim Burton

Fig. 1 Box Art

Edward Scissorhands directed by Tim Burton (1990). It takes place in Castle High a stereotypical American suburb. Except for an old European gothic mansion that stand atop a hill where the creator lived. His last creation was Edward Scissorhands (Johnny Depp) an almost complete person, but before he could finish Edwards’s hands he died so instead Edward still kept metal scissors for hands. Atop the hill in the mansion Edward lived alone until an Avon representative Peg Bogg (Dianne Wiest) came along and took him to her home.

Fig. 2 The Mansion

Edward despite his appearance is never portrayed as a character to fear. He is a lonely character who wishes he could be accepted. Edward is gentle at heart but is dangerous when he doesn’t intend it making the audience feel for him. “Edward is a hazard, slicing gashes in his chalky face every time he wipes away a stray hair.” (Travers 1990). Peg takes Edward in like a mother and tries to make him feel like part of the family. The character Edward clearly is a close emotional tie to Tim Burton when he was younger. The scissors could represent what some teenagers go through with it being a metaphor of depression and self-harm. And the fact that nothing Edward touches is always a masterpiece, he can’t hold those he cherishes or able to touch.

Fig. 3 Edward Scissorhands

The use of contrast is a key element throughout this film to signify the differences between Edward and the rest of society. The houses are bright pastel colours which strengthens the feel on the suburb. All the people dress up in bright colours and congregate in a close-knit community, whereas Edward lives a dark dreary mansion and lives by himself with no contact to the outside. Edward has a very unique and interesting way of expressing himself by cutting grand designs out of what’s around. But the ‘normal’ people only show their expression through boring appliances, clothing and other consumer goods. “Instead of expressing these ideas through the dialogue, Burton finds ways to visually contrast the two worlds. There’s the dark, crumbling castle that looms in the background, the longtime home of Edward. While in town, the houses are all bright, pastel colors, yet there’s unison to their design and layout.” (Ewing 2010)

Fig. 4 Castle Hill

All the characters are very interesting which makes the viewer think, and look with more depth into them. This one of the key features in the film which engages you and makes you feel for them. Edward in particular has a unique persona which intrigues the viewer to look closer, he doesn’t say much but Depp can deliver such a great performance using actions and movement that gives Edward his particular nature. “Burton shows a fascination with the unusual and the bizarre that urges you to look closer rather than turn away in disgust and it’s not just because of the humanity underlying the deformed exterior.” (Biodrowski 2000). With Edward being unique in particular all the residents take liking to him, rather like a puppy that soon loses its charm. Everybody wants to please Edward and get to know him, but it seem Edward is just a novelty and when he is framed for breaking into the house they re-invent him into something he isn’t and is soon pushed away and forgotten. This shows the hollow ness of the general population to take everything on appearance.

Illustration List


Burton, T (1990) Figure 1. Box art [online] http://thefilmprojector.wordpress.com/category/dvd-reviews/ (Accessed on 19/11/11)

Burton, T (1990) Figure 2. The Mansion [online] http://www.avforums.com/movies/Edward-Scissorhands-review_9083/screenshots.html (Accessed on 19/11/11)

Burton, T (1990) Figure 3. Edward Scissorhands [online] http://www.avforums.com/movies/Edward-Scissorhands-review_9083/screenshots.html (Accessed on 19/11/11)

Burton, T (1990) Figure 4. Castle Hill [online] http://cigarettesandmartinis.tumblr.com/post/9870938755 (Accessed on 19/11/11)

Bibliograph

Peter Travers (1990) [online] http://www.rollingstone.com/movies/reviews/edward-scissorhands-19901214 (Accessed on 19/11/11)

James Ewing (2010) [online] http://cinemasights.wordpress.com/2010/06/14/edward-scissorhands-1990/ (Accessed on 19/11/11)

Steve Biodrowski (2000) [online] http://cinefantastiqueonline.com/2000/10/edward-scissorhands-tim-burtons-elephant-man/ (Accessed on 19/11/11)

Legend directed by Ridley Scott

Fig. 1 Legend box art

Legend directed by Ridley Scott, is a classic high fantasy fairy tale story. Darkness (Tim Curry) tries to destroy all the light and goodness in the world and create an everlasting night by killing and taking the horns off the unicorns. Lili (Mia Sara) touches a unicorn unknowing that it’s strictly forbidden for mortals to touch them. Jack (Tom Cruise) must take on big responsibilities to go and destroy darkness and restore order to the world.

This film is just a basic generic fantasy fairy tale film; it’s got goblins, fairies, unicorns and Darkness with the appearance of the devil and evil setting about to destroy the good. However there is no denying this film had spectacular set designs and character makeup which pretty much makes up for the lack of originality in the story telling. “Let it be said that "Legend" is an impressive technical achievement. Scott is a perfectionist who takes infinite pains to make things look right.” (Ebert 1986) Scott made a huge effort to make the film look great and to create immersion within the film.

Fig. 2 Tim Curry as Darkness

There is a strong sense of good and evil that runs throughout this film. Scott youse of light is evident being used in the scenes with Jack and Lili to light up certain objects and to emphasize them.  “He uses production design, costumes, lighting, and makeup to suggest a sumptuous world of magic and wonder” (Biodrowski 2009) When they see the unicorns, partial slivers of light show on their faces to give the impression the area they are in is secretive and concealed. When the camera moves to the unicorns they are lit up in the centre of the scene as glowing beacons of light.

Fig. 3 Unicorns in the clearing

Scott seems to have wanted to look into the darker sides of fairy tales with this movie as well as trying to appeal to a wider audience, you do get the sense of darkness and other dark desires show through in the Lord of Darkness’s domain which again is a great set design and makeup. “It is genuinely creepy in parts. Meg Mucklebones and the goblin Blix are freaky characters who were superbly put together by Rob Bottin” (Scythe 2011) The goblins in particular are creepy to look at and depict the personalities of them rather well.

Fig. 4 Goblin 

Illustration List

Scott, R (1985) Figure 1. Legend box art [online] http://www.imdb.com/title/tt0089469/

(Accessed on 19/11/11)

Scott, R (1985) Figure 2. Tim Curry as Darkness [online] http://www.cinemasquid.com/blu-ray/movies/screenshots/sets/legend-theatrical/f5d70ef8-8259-4e0c-af5a-a3cdc1fd8bb1 (Accessed on 19/11/11)

Scott, R (1985) Figure 3. Unicorns in the clearing [online] http://www.cinemasquid.com/blu-ray/movies/screenshots/sets/legend-theatrical/f5d70ef8-8259-4e0c-af5a-a3cdc1fd8bb1 (Accessed on 19/11/11)

Scott, R (1985) Figure 4. Goblin [online] http://geparile.wordpress.com/2010/09/03/legend-1985/

(Accessed on 19/11/11)

Bibliography

Roger Ebert (1986) (online) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19860418/REVIEWS/604180302/1023 (Accessed on 16/11/11)

Steve Biodrowski (2009) (online) http://cinefantastiqueonline.com/2009/05/legend-1985-retrospective-film-dvd-review/ (Accessed on 16/11/11)

Ramius Scythe (2011) (online) http://www.horrorchronicles.com/adventure-movies/legend-1985-review.html  (Accessed on 16/11/11)

Alien directed by Ridley Scott

Fig 1. Alien box art

Alien directed by Ridley Scott (1979) A crew from the mining ship Nostromo have been awakened from hyper sleep after the ships computer Mother (voiced by Helen Horton) has intercepted a transmission from an unknown life form. After they land Dallas (Tom Skerritt), Lambert (Veronica Cartwright) and Kane (John Hurt) set off and reach the alien ship. While mother translates the message it turns out to be a warning but by then it’s too late. Kane is taken back with a ‘facehugger’ attached to his head. Chaos soon pursues with each crew member being killed off one by one. Ripley is the last surviving character who triumphs by killing the Alien, and Ripley became an iconic sci-fi heroin.

Although this film shows a classic horror plot with each of the charters being picked off one by one in a rather gruesome fashion. This film should just be another horror flick that was forgotten about, but it remains as one of my favourite horror sci-fi films of all time. It is all down to the creature design and set designs, you really do believe that this exists. They film producers enlisted the help of H.R Giger a surrealist painter who paints very raw sexual dark paintings. This helped the very iconic Alien design to be the very basis of all modern creature designs. The Alien creature reflects the dark human desires, to consume and destroy and is why the Alien creature remains to be the best designed organism and is why it sticks with us. “Giger's creation is one of unparalleled terror, and represents one of the most memorable visions ever to appear in a science fiction movie” (Berardinelli N/A). The design of the planet lv-426 (designated planet name in Aliens (great film as well)) is very simply and basic but gives a great sense that is located in deep space. This only elevates another human fear of being far from safety in the dark, which gives the film even more depth and emotion. 

Fig 2. Alien

This film creates a lot of tension and suspense in scenes, when the characters walk around alone in the dark you know what’s going to happen. “One of the great strengths of "Alien" is its pacing. It takes its time. It waits. It allows silences” (Ebert 2003)The creature remains a mystery but you get the sense that it is very smart, agile and strong just by looking at it. The music in this film is fantastic, creating atmosphere within scenes especially when you see the Nostomo in the opening scene. It gives a sense of deep space and the unknown.

The CGI in this film is still very good by today’s standards. The ship Nostromo has a very powerful presence to it while it’s moving through space. You really get a sense that the ship is huge, however on the inside they have made it old future tech. This gives the ship a very used and recycled, scrapheap feel which works well as it is a mining vessel and just emphasises that fact. To modern viewer however certain aspects of this film may seem dated but for the most part it still looks great and doesn’t seem to have dated at all. “The production design in "Alien" was always among the movie's strongest points, and the bulky details (a motion detector the size of a leaf blower; spaceship monitors that look like Radio Shack TRS-80 computer screens) seem more industrial than quaint”. (Hartlaub 2003)

Fig 3. The Nostromo

Illustration List

Scott, R. (1979) Figure 1. Alien box art http://hoosierlawyer.typepad.com/.a/6a00d8341f05cf53ef0120a633b471970b-popup (Online) (Accessed on 06/11/11)

Scott, R. (1979) Figure 2. Alien http://thepeoplesmovies.files.wordpress.com/2010/03/aliendude.jpg (Online) (Accessed on 06/11/11)

Scott, R. (1979) Figure 3. The Nostromo http://www.doblu.com/wp-content/uploads/2010/11/alien956.jpg (Online) (Accessed on 06/11/11)

Bibliography

James Bernardinelli. (N/A) (Online) http://www.reelviews.net/php_review_template.php?identifier=395 (Accesed on 6/11/11)

Roger Ebert. (2003) (Online) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20031026/REVIEWS08/310260301/1023 (Accessed on 06/11/11)

Peter Hartlaub. (2003) (Online) http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/10/29/DD303899.DTL (Accessed on 06/11/11)

King Kongdirected by Ernest B. Schoedsack and Merian C. Cooper

Fig 1. King Kong poster

King Kong I directed by Ernest B. Schoedsack and Merian C. Cooper in 1933 is one of the most iconic movies to come from Hollywood. The film is about Carl Denham who wants to shoot his new movie on a tropical island that is very mysterious. He finds his new leading lady Ann Darrow and sets off to the mysterious island ‘Skull Island’ and they find that the island inhabits many beasts, monster and the giant gorilla King Kong.

This film is set in the unknown and very much holds what the western civilisation thought of Africa with exotic animals and unfamiliar landscapes. Not only did Kong inhabit the island but also prehistoric creatures such as the Stegosaurus and the Tyrannosaurus Rex. Showing what people of the time imagined unknown lands would hold.  The tribe are depicted as a simple and aggressive, dressed in flamboyant garments and bright face paints. This was a very stereotypical view of black tribes around in Africa in the 30’s.

The creature Kong as we first see him is very beastly and aggressive. In the 30’s they had limited technology and used stop frame animation to created Kong. They still manage to get across a certain presence that Kong holds, with his larger than life personality. “King Kong was innovative in the motion picture industry, and despite the dated nature of the stop-motion animation used in King Kong, it still looks terrific”(Thompson 2009) For the close ups of Kong they used an animatronic mask, to the modern viewer looks very amusing and it hard not to laugh. However this does show the very human aspect of King Kong, that he is not all monstrous. His grin does show a kind of mischievous behaviour which Peter Jackson showed very well in the 2005 remake of the film as he had a lot of CGI technology at his disposal. Kong is seen in the eyes of the people as a threat and a monster this is true however Kong is only trying to protect Ann. And doing everything he can to protect her. Maybe of John Driscoll (Bruce Cabot, who is soon to be Ann’s husband) as Kong has seen the destruction humans are capable of. “But "King Kong" is more than a technical achievement. It is also a curiously touching fable in which the beast is seen, not as a monster of destruction, but as a creature that in its own way wants to do the right thing”. (Ebert 2003)

Fig 2. King Kong animatronic mask

While the company of sailors set off into the jungle to rescue Ann Darrow, the camera pans out into various wide shots on the jungle. When they walk past the dead Stegosaurus they still manage to create a depth to scene, trying to create the dense atmosphere of the jungle they are in. The viewer really does seem to be engaged in the story a lot more than other movies around the same time. “it truly does take us to another place and convinces us on some level that it’s real” (Ewing 2010).

There are so many iconic scenes in this film; you don’t need to watch a King Kong film to know it climbed to the top of the empire state building, and the fight with the T-Rex which in the remake which influences even more how brutal Kong can be.

Fig 3. King Kong fighting a T-Rex

Illustration List 

Ernest, B & Merian, C. (1933) Figure 1. King Kong Poster http://en.wikipedia.org/wiki/File:Kingkongposter.jpg (Online) (Accessed on 06/11/11)

Ernest, B & Merian, C. (1933) Figure 2. King Kong animatronic mask http://horrornews.net/5051/film-review-king-kong-1933/king-kong-1933-photo-5/ (Online) (Accessed on 06/11/11)

Ernest, B & Merian, C. (1933) Figure 3. King Kong fighting a T-Rex http://kingkong.wikia.com/wiki/King_Kong_(1933_film) (Online) (Accessed on 06/11/11)

Bibliography

Bill Thompson (2009), (online) http://billsmovieemporium.wordpress.com/2009/01/22/review-king-kong-1933/  (Accessed on 06/11/11)

Roder Ebert (2003), (online) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20020203/REVIEWS08/202030301/1023 (Accessed on 06/11/11)

James Ewing (2010), (online) http://cinemasights.wordpress.com/2010/04/16/king-kong-1933/ (Accessed on 06/11/11)

Metropolis directed by Fritz Lang

Fig 1. Metropolis Cover

Metropolis directed by Fritz Lang (1927) is a silent sci-fi film. The film is all about the upper and lower class people who live in the metropolis.

The first character we are introduced to is the main character Freder (Gustav Fröhlich) who is shown in a very pleasant garden with many women to entertain him. He sees Maria (Brigitte Helm) come to the surface with the slave workers children. He clearly shows emotions towards her, he follows her down and is horrified by the conditions in which the slaves work. He confronts his father Joh Ferderson (Alfred Abel) the founder or of the metropolis who is fully aware of the workers. Freder wants to join the workers and help them have a better life, when Joh finds out about Maria and Freder.  He enlists the help of the scientist Rotwang (Rudolf Klein-Rogge) who creates the Machine Man which resembles the appearance of Maria to disrupt the rebellion and wreak havoc.

Fig 2. Freder in the garden

This film is the father of all modern sci-fi films, it revolutionised cinema back in the 20’s with its grand set designs, amazing special effects, “The special effects are able to create the futuristic cityscape that practically defined how the sci-fi cityscape looked for years to come” (Ewing 2011) and it really was the Avatar of its time.  “Generally considered the first great science-fiction film” (Ebert 1998). This was a big factor to the success of the film. The film had massive sets which helped portray the immense scale of the city, when the water floods the lower workers city the set it huge with lots of people running from the buildings that run all around the set. Also when Rotwang activates the Machine Man the special effects in that scene are incredible for the time the film was made. This really influences the fact that this film is set in the future with sophisticated technology.

Fig 3. The Heart Machine

This film has symbolism which can be seen from Fritz Lang’s German expressionistic influence. When Freder Goes below and see the workers struggling to keep the machine working which then explodes and kills a few workers. “He witnesses the massive machines the belch forth smoke and flames and the workers who are employed to keep the machine running, lest it explode in their faces. The work is relentless, the men strain to keep up” (Jerry N/A) He sees the machine transform into a monster which consumes the workers and just as they get pulled away more just replace them. Also the characters have exaggerated movements to really show the viewers what they were feeling. When the workers leave the machines below they walk out slowly with heads dropped to show how exhausted and sad they are. The Machine Man in particular uses very exaggerated movements to emphasize it as a character.

Illustration List

Lang, F. (1927) Figure 1. Metropolis Cover (Online) http://www.studiobriefing.net/2011/08/silent-classic-metropolis-to-return-with-rock-score/ (Accessed on 05/11/11)

Lang, F (1927) Figure 1. Freder in the garden (Online)  http://www.jonathanrosenbaum.com/?p=6204 (Accessed on 05/11/11)

Lanf, F. (1927) Firgure 3. The Heart Machine (Online) http://cinefantastiqueonline.com/2010/05/the-making-of-metropolis-special-effects-by-gunthe-rittau/ (Accessed on 05/11/11)

Bibliography

James Blake Ewing. (2011) Cinema Sights (online) http://cinemasights.wordpress.com/2011/02/10/metropolis-1927/ (Accessed on 05/11/11)

Roger Ebert. (1998) Chicago Times (online) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19980328/REVIEWS08/401010341/1023 (Accessed on 05/1/11)

Jerry. (N/A) Armchair Oscars http://www.armchairoscars.com/The%2020s/1927-28.htm (Accessed on 05/11/11)

The Cabinet of Doctor Caligari directed by Robert Wiene

Fig 1. The Cabinet of Dr. Caligari Poster

Robert Wiene’s The Cabinet of Dr. Caligari is a 1920’s silent horror film. This film has influenced many directors and the film industry to this day and really is the father of science fiction films. “A case can be made that "Caligari" was the first true horror film” (Ebert 2009). When this film was released it had an original plot and a fresh science fiction thriller theme. A good example of this films influence is seen in the film Shutter Island. This follows a deep engaging plot, revealing a little bit at a time of the main character.

This film has a very deep engaging plot which keeps the viewer’s attention. The film briefly touches on each of the main characters and keeps mystery with each one. Keeping the viewers intrigued and wanting to know more about the character. The sets emphasize the moods of each character well. “Cesare who’s the most striking figure in all of Caligari. Tall and gaunt, dressed in black, with his pale white face accentuated by the blackened lips” (Johnston 2005)

Fig 2. Cesare and Jane

The set design is very clever every scene has angled lines and uneven structure. There are also many shady areas down the alleys in the city which suggests an uneasy hint that ------ is not all what he appears to be. This reflects the workings and the complicated mental state of ------- mind. “The image of three-dimensional people walking through this starkly two-dimensional world is disorienting, making the universe within Caligari seem slightly off-kilter” (Merriam 2008). However the Asylum is the only place that makes sense with symmetrical buildings and lines radiating outwards from the centre of the courtyard. 

Fig 3. The Asylum Courtyard

However the film, despite how old it is still keep me interested. Being down to the clever set design with a fairly intriguing plot. The Film still seems dated due to the over acting and a few laughable scenes to the modern viewer. And parts of the plot are rather guessable. The more you read about this film the more interesting it becomes. Little hints and observations people have made really gives a feel to the film.

Illustration List

Wiene, R. (1920) Figure 1.  The Cabinet of Dr. Caligari Poster (Online) http://themoviebros.com/2011/01/25/the-cabinet-of-dr-caligari-1919/ (Accessed on 03/11/11

Wiene, R. (1920) Figure 2. Cesare and Jane (Online) http://buckle22.blogspot.com/2011/05/classics-of-german-expressionism.html (Accessed on 03/11/11)

Wiene, R. (1920) Figure 3. The Asylum Courtyard (Online) 

http://www.trocadero.com/MuseXX/items/465389/item465389store.html (Accessed on 03/11/11)

Bibliography

Roger Ebert. (2009) (Online) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090603/REVIEWS08/906039987/1023 (Accessed on 03/11/11)

Ian Johnston (2005) (online) http://www.notcoming.com/reviews/drcaligari/ (Accessed on 3/11/11)

Julia Merriam. (2008) (Online) http://classic-horror.com/reviews/cabinet_of_dr_caligari_1920 (Accessed on 03/11/11)