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Nosferatu Research Paper

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New generation of directors started to appear during the New German Cinema. After the end of Second World War, rubble films characterized a life among rubble. Rubble films reflected a desire for forgetting the past in German public, but it was hard to survive because of flooding the Hollywood movies. Due to artistic and economic stagnation, a group of 26 filmmakers issued the Oberhausen Manifesto in 1962. They declared "The old cinema is dead. We believe in the new cinema." Films became produced as cultural experiences rather than commercial products. Film themes shifted from "forget" to "remember" the past. Young filmmakers during the New German Cinema made films with messages or questions to force audiences to think what they tried to say. …show more content…

Murnau in 1922. Herzog's "Nosferatu the Vampyre" was some ways different from Murnau's Nosferatu because an original work of Nosferatu was disappeared until the copyright was expired. When original Nosferatu returned to Germany, the film became popular again among new generations. This remade expressionism horror film advanced visually, musics, actors and a well-written story by Horzog. Nosferatu by Murnau was a silent film, whereas Horzog filmed Nosferatu in German subtitle and English language. Body languages were often used in Murnau's Nosferatu such as Lucy's reaction of nightmare. Settings of the Doracula castle and a town were high qualities. Murnau portrayed Doracula as a person who brought a plague to a town. However, Horzog portrayed rats as epidemic spreaders. When a ship arrived to a town, huge number of rats were shown in the film. Shadows had an important role in both Nosferatu films. When Harker ate a dinner and spoke about the house, some scenes were used with whole shadows except Doracula's right half of face. Horzog were inspired the original film of Nosferatu. He superceded some part of expressionism such as using shadows, but he brought his personal film techniques too. According to Charles Eidsvik, he said "Herzog puts extreme subjects into extreme situations in narratives structures like dreams."1 The film might not threatened than …show more content…

Fassbinder became internationally success with this film. "Ali Fear Eats The Soul" was one of film Fassbinder produced with low budgets. "Speed and efficiency are essential in order to work this cheaply."2 He could film with low budgets thanks to minimum number of film crews, actors and technicians and average shooting time of his first thirteen films were about seventeen days.3 The film was about love between a young Moroccan(immigrant worker) man who moved to West Germany as Gastarbeiter and an old German woman. Communities' rejections of immigrants were obviously hatred that everyone had something prejudice about immigrants. The film revealed problems of racism that foreign workers from Arabian countries faced with a discrimination and Germans also had a risk to get along with immigrants because Germans might be targeted of an isolation from the German society. A turning point for Emmi and Ali was returning from their vacation. Their relationship gradually tolerated. It was not a real acceptance and people hided their aversion in their mind. The film expressed stillness, emptiness and character's facial emotions by various shots. Middle up and close up shots revealed facial expressions when character's dialogue. Pan shots were used when a lady(Emmi) introduced Moroccan man (Ali) to her sons. A camera slowly moved from left to right to show each

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You might expect Frankenstein, Dracula or Wolfman as the earliest horror movies, but the truth is nothing that creepy as Nosferatu: A Symphony of Horror was ever made before. Dating back to 1922, this movie reflects the bleak and frightening interwar years in Germany. Featuring a vampire called Count Orlok with the unforgettable Max Schreck, who was so tall, that in one scene he barely fits through a doorway. In order to maximize the rhetorical effect of mystery or uncanny – Murnau, in particular, is focusing at the lifeless becoming alive or the dead claiming life, as in the sequence of the vampire coming out of the shadow and slowly filling the screen with its horrific glance. (Lucchese, 2014).

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Consequently, although the movie is based on the gothic novel, Coppola focuses the story on the quest for love and describes the Count as a romantic protagonist who tries to riunificate with his Elisabeta, in this case Mina, and with that fact the director calls for the sympathy of the audience. In addition, the Jonathan and Mina 's relationship is less passionate and threatened by Count 's attempts to seduce Mina. Eventually he succeeds and this causes one of the main differences between the novel and the movie: the scene where Mina voluntarily decides to drink blood from his chest in order to turn herself into a vampire, while in the book Dracula forces her into it with a threat of killing Jonathan. In the movie, she is a seducable, unfaithful, naive woman who wants to reunite with her lover, on the contrary to the book where she agrees to become Undead in order to save her husband 's life, proving to be, one more, time the ideal Victorian woman. Lucy, on the other hand, after having promiscuous personality and emphasized physical appearance in the novel, continues with it in the movie adaptation, but even more adapted to the society of the new century.

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Some view Dracula as the devil and with each of his attacks, the aftereffects grow worse and worse. According to Marco Torres, in his article “Fear of The Unknown Is Creating Hysteria In Every Part of Our Lives”, “The dangers of modern life have a stranglehold on people’s imaginations… cultures increasingly preoccupied with threats to safety… definitely imagined” (Torres). Referring to an unknown, similar to Dracula himself, his threats cause great harm to the society. Faced with a fearful event allows the individual to use their fears to overcome. When Lucy died, many odd things happened around the town.

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