Friedrich W. Murnau’s Nosferatu (1922) is a seminal work of its kind. As a silent film, the fantasy travels beyond the theatrical backdrops of Melies’ Trip to the Moon to on-site locations in Bavaria. As a vampire movie, it is one of the earliest of its genre. As an example of German Expressionist cinema, trick editing supercedes the distorted mise-en-scene of its predecessors. Because Nosferatu is so expansive, scholars typically focus on only one or two aspects of the film, thus neglecting
GOTHIC, EXOTIC AND ISOLATED SETTINGS by SEHAR ADNAN. ANALYSIS OF "NOSFERATU: A SYMPHONY OF HORROR" EXPLANATION The shots sequence selected for [the] analysis has been taken from F.W. Murnau’s movie, ‘Nosferatu: A Symphony of Horror’, released in 1922. The scene is [the] Act 2 in the black and white(low-contrast) film. It shows Hutter’s experiences with Count Orlock in his Castle, while effectively revealing the gothic conventions of the exotic or isolated settings. The indoor settings
several generations. However, for my purposes, M is most intriguing as not only a reflection of the psychological disorder of a man, but also the disorder of German Expressionist film in the early thirties. Consciously made this way or not, scene analysis provides evidential support that M seems to mirror the rise of fascism in Germany, but in that reflection may be attempting to expose the M to the German audience responsible. The culture of Germany in the early thirties was caught in crisis.
S T R TABLE OF CONTENTS PAGE 1. INTRODUCTION 3 2. QUANTITATIVE ANALYSIS 3 1. The research problem 3 2. Research question or hypothesis 4 3. Method 4 4. Findings 5 5. Analysis 3. FIELD RESEARCH IN MEDIA STUDIES 1. Theoretical Background 5-7 2. Application 7 4. MEASURING MEDIA AUDIENCES 8 1. Introduction with
haunted by vampire images in one’s everyday life, as for instance in adverts such as the ones made by the German bank Sparkasse or the TV station Sixx. The first vampire film, which was called Nosferatu, eine Symphonie des Grauens and which was directed by Friedrich Wilhelm Murnau, was released in 1922. Today, ninety years later in film history, the male vampire in film has still the power to fascinate his audience. But what is it that makes the male vampire indeed immortal in the film genre? And
cave paintings) but who have no texts at their disposal; they are thus obliged to find their hypotheses, lines of thinking, and meanings in the internal analysis of the paintings without plastering over these images what texts may have taught them. Historians would do well to imitate prehistorians, at least in the first stages of analysis. In any case, historians must abandon the search for some “realistic” meaning for colors in images and works of art. The figurative document, whether it