| Papers [1-7] of 7 | Search results on "NOSFERATU": |
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"Nosferatu" and "Dracula", 2008.
A comparison of the films of "Dracula," based on Bram Stoker's novel and the 1992 film "Nosferatu," produced by German filmmaker F. W. Murnau.
2,983 words (approx. 11.9 pages), 6 sources, MLA, £ 61.95
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Abstract
This paper discusses Bram Stoker's horror novel, "Dracula." It describes the plot of the novel and its characters. The paper then looks at the play of "Dracula" that was produced on stage by Hamilton Dean and John Balderston and discusses its plot. It then discusses the 1931 film version of the novel. The paper finally analyzes the 1922 silent production entitled "Nosferatu," produced by German filmmaker F. W. Murnau and compares it to the films of "Dracula."
Table of Contents:
The Novel and the Play
The Plot
Dracula 1931
Nosferatu
Nosferatu and German Expressionism
From the Paper
"Expressionism focused and emphasized the subjective over the objective (Haney 2005). Its goal was to elicit the strongest possible emotional response. Nosferatu is not only the story of a vampire. It is also the story of plague and pestilence, of evil and greed, and of inequality and sexless marriage. It delved into sexual repression and revealed the vampires out of people in the state of the German soul after World War I in Germany. Bram Stoker's novel was a peek into the subconscious. Murnau brought it out and expressed it in the form of a film. He firmly drew from that awareness that everything present contains meaning and significance. The time of its production and other elements combined to make it an Expressionist film. Though not a completely traditional representation of Expressionism, Murnau made the film unique as compared with other films of its time. The most significant element is location filming, which gave it a strong realistic character. His talent puts his horrific dream teetering at the edge of reality. He meticulously chose the elements of his film and blended them carefully into a whole and single expression of a message (Haney)."
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"Nosferatu", 2002.
This paper looks at the 1921 F.W. Murnau film "Nosferatu", highlighting the use of texts, talented actors and special effects to carry this silent film.
1,907 words (approx. 7.6 pages), 5 sources, MLA, £ 41.95
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Abstract
The paper studies the famous silent film and the ways in which the director, Murnau, was able to inform the viewers without the use of sound. The writer analyzes two methods of propelling the plot through the silence and telling the story of the infamous vampire: the first one is reading, the use of inter-titles between shots, and the second method is editing. The paper gives examples of how these techniques carry the narrative of the film.
From the Paper
"One of the most important questions we can ask is how, why and when do we figure out that the Count is a vampire? The earliest clue is Renfield, the accountant for who Harker works. When we first see him he is reading a letter. Not a normal letter but one with strange symbols on it the audience cannot understand themselves. When Harker walks into the office Renfield pulls him aside and gives Harker the assignment of going to a client, as it turns out a Count to buy him a house in Bremen. Promising Harker money to go to the Count in Transylvania Renfield states: ??it will take a bit of effort?a bit of sweat and perhaps?a bit of blood??. By suggesting that Harker has to give ?a bit of blood? if it is necessary plus the letter with the strange symbols the audience can expect that there is something not right with the Count."
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"Nosferatu", 2007.
An analysis of the effects of the style of film-making used by Friedrich Wilhelm Murnau in his production of "Nosfertu."
1,074 words (approx. 4.3 pages), 5 sources, MLA, £ 25.95
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Abstract
This paper discusses Friedrich Wilhelm Murnau's production of the film, "Nosfertu" (based on Briam Stoker's novel) in 1922. It describes the profound effect that his film had on the way that books are adapted for films. It also discusses how his German filmmaking techniques had a major impact on the "look" and style of American movies for decades to come.
From the Paper
"Today, of course, with the many horror films, "Nosferatu" is tame. However, it truly set the stage for what was to come. Like an old-fashioned pounce film, its artistry, innovation and images evoked emotions in the viewers. A large part of the movie is shot in lurking shadows. The screen's corners are used more than a typical film where characters hide or shiver from fright; this following the composition rule that tension is created when the main character of a shot is removed from the middle of the frame."
"Murnau was one of the most accomplished orchestrators of tone, atmosphere, space and tempo in the history of the medium. Although his films became most known for artful lighting and composition, he argued that the goal was something more visionary than picturesque. "There should be no such thing as 'an interesting camera angle,' " he once argued. "The angle itself has no significance, and if it does not intensify the dramatic effect of the scene, it can even be harmful" (Washington Times, B01)"
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German Expressionist Films of the 1920s and1930s, 2000.
An examination of the major directors, films ("Metropolis," "Cabinet of Dr. Caligari," "Nosferatu"), themes of power relations, styles and characters.
1,575 words (approx. 6.3 pages), 4 sources, £ 38.95
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From the Paper
"According to Siegfried Kracauer, "the character of Caligari . . . stands for an unlimited authority that idolizes power." This idea is applicable both to Caligari and to the master of Metropolis, a man who is a virtual dictator and who has an entire class of people who serve the needs of the machine and so the city and have no other purpose in life. The central metaphor of the film is the transformation of a robot into a woman, and for leaders like Joh Fredersen, there is an entire class of human beings who are nothing but robots.
Power relations in The Cabinet of Dr. Caligari (Robert Wiene, 1920) are displayed through exaggeration. The mesmerist holds power over the somnambulist with the power of his eyes, with gestures, and with direct orders. Power is a central motif in the town depicted, with high officials showing their power by..."
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Horror Films, 2003.
Discusses the public's fascination with the horror genre.
1,575 words (approx. 6.3 pages), 4 sources, £ 38.95
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Abstract
Examines the reasons why horror and vampire stories and films are popular and the visual artistry necessary for outstanding horror films, such as "Dead of the Night" and "Nosferatu."
From the Paper
"In Heart of Darkness, Joseph Conrad's protagonist's final words are "Oh, the horror! The horror!" This sums up the public's fascination with horror movies. However, "horror was . . .an established literary genre long before Edison turned..."
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Dracula Films, 2002.
A general analysis of four of the most prominent Dracula Films.
3,457 words (approx. 13.8 pages), 10 sources, MLA, £ 67.95
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Abstract
This paper analyzes and discusses four of the most famous "Dracula" films, based on Bram Stoker?s 1897 novel, "Dracula". The paper examines "Nosferatu, Eine Symphonie des Grayens" (1922), "Dracula" (1931), "Horror of Dracula" (1958), and "Bram Stoker's Dracula" (1992). The paper gives a story summary, provides comparisons to Stoker's novel and highlights interesting points. An extensive bibliography is included.
From the Paper
"Count Dracula is, without a doubt, one of the most identifiable fictional characters today. Originating with Bram Stoker?s 1897 novel, Dracula, aspects of the novel, especially the title character, have been reproduced in everything from the theater and film to breakfast cereal and used-car commercials. In fact, the well-known image of Dracula bears only a mild resemblance to Stoker?s Transylvanian vampire. Instead, the stereotypical accented, black suit and cape wearing vampire with pointed teeth and slicked back hair portrayed by Hungarian Bela Lugosi in Universal?s 1931 Dracula is the image immediately associated with that name. A large number of films based upon Stoker?s tale have been created. Specifically, four Dracula films which are based more or less directly on the original novel are the most prominent and recognized."
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German Expressionism, 2004.
An analysis of German expressionism from the First World War to the end of the silent film era.
3,045 words (approx. 12.2 pages), 8 sources, MLA, £ 61.95
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Abstract
This paper argues that German expressionist cinema is the product of socio-cultural conditions in World War I and interwar Germany. It uses the history of Germany during this period in order to explain expressionist style, obsession with themes involving science, in particular psychoanalysis and overt depictions of anti-authoritarian and anti-bourgeois attitudes. Two films are used heavily to proof the influence of socio-cultural conditions, "The Cabinet of Dr. Caligari" (Robert Weine, 1919) and "Nosferatu" (F.W. Murnau, 1922).
From the Paper
"Although contemporary critics viewed the distorted scenery of Caligari as a physical representation of the disturbed mind of the film?s protagonist, Francis (Friedrich Feher), the writers intended it to represent the collective conscious of a Germany torn by war and instability (Kracauer 70). Supporting the latter claim is the fact that the framing story does not restore a ?normal? perception of the world, but continues to be punctuated by expressionist elements; the psychiatric hospital is reminiscent of expressionist architecture, with three staircases running upwards from arched doorways, and the actors maintain their expressive acting styles with overemphasized facial movements. Since the framing story acts to remove the viewer from the supernatural tale told by Francis, in order for it to be a visual representation of his mind, logically it should restore the world to one resembling ?reality,? or the way that the average spectator would view their own external world."
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