Editing The Cabinet of Dr. Caligari (section)

===Filming===
Shooting for ''The Cabinet of Dr. Caligari'' began at the end of December&nbsp;1919 and concluded at the end of January&nbsp;1920.<ref name="Robinson24" /><ref name="Schenk">{{cite news |last=Schenk |first=Ralf |title=Die Spukpioniere von Weißensee |work=[[Berliner Zeitung]] |date=4 September 2010 |language=de |url=http://www.berliner-zeitung.de/archiv/vor-knapp-hundert-jahren-drehten-die-grossen-deutschen-stars-und-auch-die-sternchen-im-berliner-norden--die-spukpioniere-von-weissensee,10810590,10740438.html |access-date=10 March 2015 |archive-url=https://web.archive.org/web/20150515231430/http://www.berliner-zeitung.de/archiv/vor-knapp-hundert-jahren-drehten-die-grossen-deutschen-stars-und-auch-die-sternchen-im-berliner-norden--die-spukpioniere-von-weissensee,10810590,10740438.html |archive-date=15 May 2015 |url-status=live}}</ref> It was shot entirely in a studio without any exterior shots,<ref name="Brockmann62">{{Harvnb|Brockmann|2010|p=62}}</ref><ref name="Kaes47">{{Harvnb|Kaes|2006|p=27}}</ref><ref name="LoBrutto63">{{Harvnb|LoBrutto|2005|p=63}}</ref> which was unusual for films of the time, but dictated by the decision to give the film an Expressionist visual style.<ref name="Robinson25">{{Harvnb|Robinson|1997|p=25}}</ref> The extent to which Mayer and Janowitz participated during filming is disputed: Janowitz claims the duo repeatedly refused to allow any script changes during production, and Pommer claimed Mayer was on the set for every day of filming.<ref name="Robinson12" /> Hermann Warm, however, claimed they were never present for any of the shooting or involved in any discussions during production.<ref name="Barlow34" /><ref name="Robinson12">{{Harvnb|Robinson|1997|p=12}}</ref>

''Caligari'' was filmed in the [[Weissensee Studios#9-12 Franz Josef-Straße|Lixie-Film studio]] (formerly owned by [[Continental-Kunstfilm]]) at 9 Franz Joseph-Strasse (now Max Liebermannstraße), [[Weissensee (Berlin)|Weißensee]], a north-eastern suburb of Berlin.<ref name="Schenk" /><ref name="Robinson25" /> Decla had been making films at the Lixie studio since October&nbsp;1919, having previously released three titles, ''[[The Plague of Florence]]'' (''Die Pest in Florenz'') (1919) and the two parts of ''The Spiders'' (''Die Spinnen'').<ref name="Robinson25"/><ref>Robinson may be in error here about the previous owner of the Lixie studio (whose exact address he does not give): it was almost certainly not [[Jules Greenbaum#Deutsche Vitascope|Vitascope GmbH]], but rather [[Continental-Kunstfilm#Lixie-Film|Continental-Kunstfilm]].</ref> The relatively small size of the studio (built some five years earlier in 1914) meant most of the sets used in the film did not exceed {{convert|6|m|spell=in}} in width and depth.<ref name="Robinson25" /> Certain elements from the original script had to be cut from the film due to the limited space, including a procession of gypsies, a handcart pushed by Caligari, Jane's carriage, and a chase scene involving horse-cabs.<ref name="Robinson28" /> Likewise, the script called for a fairground scene with roundabouts, [[barrel organ]]s, sideshow barkers, performers and menageries, none of which could be achieved in the restrictive space. Instead, the scenes use a painting of the Holstenwall town as a background; throngs of people walk around two spinning merry-go-round props, which creates the impression of a carnival.<ref name="Robinson28" /> The script also made references to modern elements like telephones, telegrams and electric light, but they were eliminated during the filming, leaving the final film's setting with no indication of a specific time period.<ref name="Robinson28" />

[[File:Ende V. Akt Das Cabinet des Dr. Caligari.jpg|thumb|upright=1.2|''The Cabinet of Dr. Caligari'' used stylised intertitles.|alt=A black screen with green faded shapes in the background, and green words in German language written in angled block letters in the foreground.]]
Several scenes from the script were cut during filming, most of which were brief time lapses or transitioning scenes, or title screens deemed unnecessary.<ref name="Robinson28" /> One of the more substantial scenes to be cut involved the ghost of Alan at a cemetery.<ref name="Robinson28" /> The scene with the town clerk berating Caligari deviated notably from the original script, which simply called for the clerk to be "impatient".<ref name="Robinson28" /> He is far more abusive in the scene as it was filmed, and is perched atop an exaggeratedly high bench that towers over Caligari.<ref name="Robinson28" /> Another deviation from the script comes when Caligari first awakens Cesare, one of the most famous moments in the film. The script called for Cesare to gasp and struggle for air, then shake violently and collapse in Caligari's arms. As it was filmed, there is no such physical struggling, and instead the camera zooms in on Cesare's face as he gradually opens his eyes.<ref>{{Harvnb|Robinson|1997|pp=63–65}}</ref> The original [[Intertitle|title cards]] for ''Caligari'' featured stylised, misshapen lettering with excessive underlinings, exclamation points and occasionally archaic spellings. The bizarre style, which matches that of the film as a whole, mimics the lettering of Expressionistic posters at the time.<ref name="Barlow39">{{Harvnb|Barlow|1982|p=39}}</ref><ref name="Eisner21">{{Harvnb|Eisner|1974|p=21}}</ref> The original title cards were tinted in green, steely-blue and brown. Many modern prints of the film do not preserve the original lettering.<ref name="Eisner21" />

Photography was provided by [[Willy Hameister]], who went on to work with Wiene on several other films.<ref name="Brockmann60" /> The camerawork in ''Caligari'' is fairly simple and is used primarily to show the sets,<ref name="Barlow45" /><ref name="LoBrutto64">{{Harvnb|LoBrutto|2005|p=64}}</ref> mostly alternating between medium shots and straight-on angles, with occasionally abrupt close-ups to create a sense of shock. There are few long shots or panning movement within the cinematography.<ref name="LoBrutto64" /><ref>{{Harvnb|Kaes|2006|pp=47–48}}</ref> Likewise, there is very little interscene editing. Most scenes follow the other without [[intercutting]], which gives ''Caligari'' more of a theatrical feel than a cinematic one.<ref name="LoBrutto64" /> Heavy lighting is typically absent from the film, heightening the sense of darkness prevalent in the story. However, lighting is occasionally used to intensify the uneasiness created by the distortions of the sets. For example, when Cesare first awakens at the fair, a light is shone directly on a close-up of his heavily made-up face to create an unsettling glow.<ref name="Barlow38-39">{{Harvnb|Barlow|1982|pp=38–39}}</ref> Additionally, lighting is used in a then-innovative way to cast a shadow against the wall during the scene in which Cesare kills Alan, so the viewer sees only the shadow and not the figures themselves. Lighting techniques like this became frequently used in later German films.<ref name="Peary51">{{Harvnb|Peary|1988|p=51}}</ref><ref>{{Harvnb|Kracauer|1947|p=75}}</ref>