Expressionism In The Lodger

Regarding Soviet montage is evident in The Lodger, when Daisy laughs and a cut show the audience the expression of the lodger, his reaction to this laugh. In Blackmail, is clearly exposed a Soviet montage influence, after Alice stabs Mr. Crewe, the camera focuses on her face, then on the jester laughing and again in Alice´s face, later she rips the painting and looks straight at the camera. In The Lady Vanishes, this influence is shown at the opening scene with the movement of the camera through the landscape and the view of the entire village, later it enters through the window and appears Miss Froy talking to the receptionist, then is a cut where the other guests are seen and then the camera is back to Miss Froy.
German expressionism is

Surrealism, expressionism and montage main goal is not necessarily to entertain but to shock audiences, make people think from another point of view, change their mind about important topics like politics. These movements are not necessarily attractive and comprehensive to everyone, they are meant to be art works. On the other hand, the main purpose of commercial film is to entertain an audience usually telling a story without the necessity that people react or think in a certain way, it could be said that it focus on the passivity of the

For surrealism both characteristics are usually absent. As the images have neither a logical order nor a purpose to tell a story, this requirements are not complete. When Hitchcock introduces the image of the truck in The Lodger, there is not a special purpose or contribution to the rest of the film; in fact it does not affect the latter events. Besides as a movement which focuses on producing dreamlike images a logic order or a relation between the characters is probably not necessary. In Soviet Montage, these elements are required and maybe neither present. The narrative of the film will focus on the character reactions and the feeling that the camera movement produces in the audience but the ending or the character´s interactions are not very significant. Finally, for German expressionism couple formation is relevant but not necessarily as a source of happiness but is used to support the idea of sadness. In the three Hitchcock´s films describe previously these elements are shown but in an ambiguous way, especially in Blackmail, where the happy ending is doubtful as both characters feel condemn with their feelings and their relationship. In The Lodger, both the couple formation and the happy ending are followed by an implicit prediction of