Nosferatu

which produced the 1922 German Expressionist film Nosferatu, was sued for copyright infringement by the estate of Bram Stoker, the author of the 1897 Gothic Horror novel Dracula, and ended up filing for bankruptcy after only distributing one film. While this may seem like an immense failure for the studio behind the silent film, it ended up influencing almost a century of vampires, in novels, television, and other films, and made the name ‘Nosferatu’ synonymous with the equally influential novel that

Red can also fall under that category of more than one meaning. While I watched the films in class, I began to notice the blurred lines between the color red, and began to take notice of its ever-present image in each film. Throughout the films Nosferatu: Phantom der Nacht, and Bram Stoker’s Dracula, the color red is represented through the character’s bodies and clothing to blur the lines between death, blood, passion, and lust. A character is able to have red lips for a myriad of reasons. Between

Silent Horror: German Expressionist Elements in Nosferatu 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

know what form they will take. In Nosferatu, only the wife is aware, and her inclinations are easily dismissed. This key difference is purposefully included to highlight the German people’s devastation after World War I. The crushing defeat left the country disoriented and disheartened. Similar to how Hutter wanders into a situation in which he has confidence, Germany decides to go to war with the belief that they will emerge victorious. Audiences of Nosferatu would identify with Ellen; since

for emotional effect.” In Nosferatu, the film contains a plethora of distorted realities in an attempt to evoke the “emotional effect” from the audience. This is shown by the director of the film, F.W. Murnau’s usage of lighting and makeup & costume design. The photograph above depicts the scene of Nosferatu’s arrival via ship to the fictional city of Wisborg from Transylvania, where the main character Hutter and his wife, Ellen lives. Throughout the voyage, Nosferatu kills all the sailors onboard

Rhetorical Outline Proposition: The film Nosferatu was a key step in establishing the modern standard of the vampire as an icon of horror. Audience: Persons with a high level of interest in the history and development of film, specifically vampire or German Expressionist film. The book discusses how Nosferatu is an important milestone in cinematic history for its pioneering in both the creation of the “vampire” icon and its use of cutting-edge film techniques, so people with an advanced interest

becomes acquainted with a mentor, whose function is to prepare the champion to face the unknown. Van Helsing serves as the mentor for the band of adventurers. Indulging his role as teacher, Van Helsing recounts to the fellowship the legend of the Nosferatu, identifying their weaknesses: “There are things which so afflict him that he has no power, as the garlic we know of, and as for things sacred, as this, my crucifix… there are others, too, which I shall tell you of, lest in our seeking, we

Texts can be modified or appropriated to suit different audiences or purposes, yet still remain firmly within the genre. Discuss Stoker’s ‘Dracula’ and at least one of the films you have studied. FW Murnau’s 1921 film Nosferatu is an appropriation of Bram Stoker’s 1897 novel Dracula. Despite it being an appropriation, explicit gothic conventions remain evident, which explore societal fears and values. These fears and values differ from Dracula, due to distinct contextual influences of different

portrayed as both monsters, comedic villains, and romantic figures. The film industry has represented many incarnations of vampires on the big screen for decades. Let’s begin with the first vampire film, Nosferatu (monster), up to the latest vampire film, Twilight (lover). Along came, Nosferatu, an unofficial adaption of Bram Stoker’s Dracula, and the first ever vampire film released. Because the German studio, in charge of the film, could not obtain rights to the novel from Stoker’s widow, Florence

To understand how vampires were originally supposed to be, we must visit the first vampire. “Nosferatu” was one of the first ever vampire movies and set the standard for movies yet to come. The main character, Count Orlok casted by Max Schreck, played the role quite the opposite from the movies we see today. Count Orlok wasn’t the Edward Cullin kind of vampire that most people tend to think. He was a man that suffered from a dreaded curse; Schreck played the vampire more like an animal rather than