One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like *The Cabinet of Dr. Caligari* (1920) and *Nosferatu* (1922), and also provide original critical research into more obscure titles like *Nerven* (1919) and *The Phantom Carriage* (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico. An innovative and wide-ranging collection, *Expressionism in the Cinema* re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.