Nosferatu Cinematography

This film is a black and white film and the lighting is more towards dim effect which terrified the audience. Music plays the biggest effect in the film. Bernard Hermann’s theme is used for this film because it uses mostly high-pitched string instrument notes so the suspense and horror mood can be formed to the audience.

The scenery like all of the films we have watched are important. First and for most the film is black and white. This sets the stage for an older type of

Another critical element is the music, music is used to create a focused feeling for the audience. The Music was also creating a dark tone within the film. It seemed brooding moving slowly, then went higher to create an ambience of tension.

Well that and the ending of this film and the symbolism of the color red. They used a great variety of different camera angles to help improve certain scenes. There were a few shots that really helped pulled the film together. One of these scenes is when Cole was in the hospital right after the ghost attacked him at the party. Throughout the scene they made great use of the close up shot.

Lighting can be broken down into categories, there is low-key lighting, high-key lighting and also mid-key lighting. In Edward Scissorhand and Charlie and the Chocolate Factory, both use low-key lighting to create the mood of suspense, and intrigue. Low key lighting for this

There is not enough vampire investigation in Nosferatu. There should have been more time spent exploring vampire legends, and methods to kill Nosferatu. In the movie the characters from the book Quincey Morris and John Seward did not exist, and they were big contributors

Suspense is one of the biggest themes throughout the whole movie. The angles from the camera and the soundtrack of the film are the things that makes

The film is obviously low budget, as it was shot with two 16mm cameras, but Norimichi Kasamatsu does a great work of portraying the decaying and moody atmosphere of Shibuya on the streets and the motley colors of the interior settings, like clubs, and toilets in bars. Toshihide Hukano's editing keeps the film flowing and exemplifies the violence of the action scenes by rapidly changing perspectives of the same scene.

The film has the very noticeable visual style and artwork, with bright, dreamy, watery, pastel colours, Miyazaki always creates. Everything in the film was animated by hand with the traditional technique. The backgrounds were created in pastels. In addition, the film is dealing with the relationship humans have with the environment, a theme you often see in Miyazaki’s films.

The third reason is it is night time in the whole movie it is day time once but it was still creepy it is still dark and gloomy. so

Released in 1922 by the director F. W. Murau, Nosferatu is a part of the german film movement called Expressionism. The cinematography differs from earlier films, specifically in the area of cinematography that gives viewers a new look into silent films. How it conducts the scenes with its relation to the underlying themes will be used to discuss why Nosferatu is a staple in the early era of German Cinema.

Nosferatu, directed by F. W. Murnau, leads its viewers on a journey of suspense and fear as one of the first depictions of the vampire in film. Based on Bram Stoker’s Dracula, the story involves real estate agent Thomas Hutter who travels to Transylvania to convince the wealthy Count Orlok to purchase a house in Wisborg, the town that Hutter resides. Count Orlok turns out to be an evil “nosferatu” (vampire) that kills its victims by drinking their blood. In the end, only Hutter’s wife, Ellen, is able to kill the monster by distracting the vampire long enough for it to be exposed to sunlight. Unlike many contemporary horror films that often borrow shock value tactics from surrealist film styles, this film is representative of the 1920’s German Expressionist film movement by presenting a more subtly haunting horror film. Following the mass destruction of World War I and the Spanish flu, Nosferatu reflected the inner anxiety and resentment building in the dark, chaotic Weimar Republic. Building off of these sentiments, Murnau utilizes the mise-en-scéne and differing camera angles to evoke feelings of unease and fear.

Director Shyamalan uses a wide variety of camera shot and angles to create a modern ghost story. When Cole finally tells Crowe his secret, wide camera angles and extreme close up reveal more and more about the two complex characters. These shots suggest there is more to be said. With static shots in the opening scenes, Shyamalan creates an eerie anticipation. This eerie anticipation leads to Vincent violent attack. During this attack Shyamalan’s camera lose completely sense of gravity. The camera travels in all direction creating a chaotic moment. This chaotic moment satisfies the built up anticipation. Another moment of cinematography mastery is the shouting match between Cole and his teacher. Cole and his classmates are presented through

German expressionism was a defining film movement in the 1920s. It brought new and different ways of filming and and seeing films. German expressionism comes from a mixture of romanticism and expressionist art to make these very abstract and surrealist films. One widely known example of German expressionist films is F. W. Muranu’s horror classic Nosferatu. Nosferatu is one of the most influential horror films, in that it is one of the first vampire movies to have been made. Nosferatu is full of German expressionism characteristics that help further the plot and the overall style of the film. The film uses harsh shadows, makeup, costumes, and setting to make up this very stylized and irrational mise-en-scene. Not only does Muranu use a stylized

The film is centered around a man named Francis who recounts a story of a traveling magician of sorts known as Dr. Caligari. Dr. Caligari has the power to control a man named Cesare to kill and do the rest of his bidding. By the time the story comes to an end we realize that Francis is actually an inmate in an insane asylum, which completely explains why the films looks the way it does. German Expressionism normally explores madness and other themes of the sort, but this film goes beyond by exploring the mind of a madman and projecting his vision of a story he could have possibly made up himself. By having the story be a literal delve into the mind of a madman we can easily come to the conclusion that this German Expressionist theme of madness leads to the entire film being an excellent example of this art