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Item 42

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Freder''s second hallucination exemplifies one critic''s definition of Expressionist cinema as involving ''melodramatic acting'', ''a subjective experience of time'' and ''a vividness or intensity of sensory perception''. His acting, as ever, is utterly melodramatic during this scene, illustrated throughout by his eyes, which are widened in terror, and at the conclusion of his vision, in which he punches an arm into the air to ward off Death''s scythe.

Curator annotations and final value

Demo Curator annotations

FieldFinal annotation
example_npi_realized_formRead-only example
npi_disambiguated_base_formRead-only example
npi_base_formRead-only example
npi_commentsRead-only example
example_licenser_realized_formRead-only example
licenser_disambiguated_base_formRead-only example
licenser_base_formRead-only example
example_licenser_class_b05_2Read-only example
licenser_commentsRead-only example
example_collocation_classRead-only example
example_commentsRead-only example
example_standardized_formRead-only example

Imported data

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example_form
Freder''s second hallucination exemplifies one critic''s definition of Expressionist cinema as involving ''melodramatic acting'', ''a subjective experience of time'' and ''a vividness or intensity of sensory perception''. His acting, as ever, is utterly melodramatic during this scene, illustrated throughout by his eyes, which are widened in terror, and at the conclusion of his vision, in which he punches an arm into the air to ward off Death''s scythe.
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example_language_tag
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licenser_language_tag
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source_corpus
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source_url
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source_title
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source_publication_date
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source_author
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source_access_date
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pass-through (hidden from curator)
source_comments
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npi_language_tag
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pass-through (hidden from curator)
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