Fritz Lang's Metropolis, 1927
The montage at the beginning of the film is full of imagery of the city as a giant machine. Scenes of gears and other machine parts are shown to set the scene for the story. The presentation of the city is daunting and overpowering to the point of being sublime. Fritz Lang captured the sensation of the city by his use of contrast and overwhelming imagery.
Otto Dix's Dance of Death, 1917
This scene of death is shown with a great deal of chiaroscuro. The “dancing” bodies of the figures are strewn about in this dark, abstract setting. A certain cinematic feeling is added to this print because of the shadows casted upon the figures and the ground they are above.
Emil Nolde's Discussion, 1913
The three, dark figures are in sharp contrast to the light background against which they are discussing. Much like the cinematic acting of the characters in Expressionist film, the figures appear in the act. Their positions, especially the hands, arms, and faces are similar to the way in which the actors held their bodies in Expressionist film.
Robert Wiene's The Cabinet of Dr. Caligari, 1920
The use of intense contrasts between light and shadow is constantly implemented to generate a sense of horror in the narrative. The somnambulist, Cesare is seen as a dark figure, haunting the town as he walks in the night. The setting of the town is abstracted and asymmetrical, a stylistic aspect of Expressionism.