Nosferatu Research Paper

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.

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 He superceded some part of expressionism such as using shadows, but he brought his personal film techniques too.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

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