Murnau inNosferatu is the original text that spun hysteria into popular culture for the next century.
Symphonie is a horror film classic from It is a black and white silent film that was sentenced to be destroyed after a copyright lawsuit in At that time the movie had already received international publicity and had been distributed beyond German borders so that not all film material could be destroyed.
My analysis is based on the public domain version, which is also called the Bremen version. As far as the content is concerned the movies differ from each other only in the ending, which is more pessimistic in the latter film.
In this paper, I will first analyse and compare the influence of colours and lighting on the atmosphere in both movies. Thereafter, I will point out the differences in atmosphere between the silent movie with background music and the film with diegetic sounds.
Finally, I will focus on some differences in cinematography and editing in order to find out how different techniques evoke different feelings in the viewer. I will do all this with the intention of proving that, even though advanced filming techniques have improved the understanding of details in movies, the genre of the horror film has not profited from the developments but, in contrast, runs the risk of appearing absurd or parodic.
Before I begin, I want to explicitly stress that I am using the public domain version of Symphonie and therefore some of the elements to be analysed might differ from the original or other existing versions.
This is especially important as the public domain version is not tinted, which might alter the outcome of the colour analysis. Also, the soundtrack not being the original could result in a different conclusion than it might with the original soundtrack.
The discrepancies in cutting and editing between the versions should be slight enough as not to have an effect. Colours and Lighting 2. Without colours, the lighting becomes the only means of highlighting or blending in features that the producer deems more or less important.
The absence of colours moreover entails a major problem in Symphonie: Whereas in coloured movies it is easy to deptict whether it is light or dark outside, in the black and white movie it is hard to film in darkness.
Therefore even night scenes have to be well lit in order for the setting to be seen at all. This brings about some confusing scenes in Symphonie. Knowing that Dracula can only be outside at night-time, the viewer will wonder about some settings when watching the movie. For example, when Jonathan Harker arrives at the castle shortly before midnight The viewer gets the same impression when Dracula walks through Bremen with his coffin, especially when he passes a big tree that casts a shadow This kind of shadow can only be cast in daylight, so the audience has to guess that it is night by the fact that Dracula cannot live in daylight.
Wrongly depicting such important facts reveals that it must have been hard to film black and white movies distinguishing between night and day. Throughout his movie Murnau generally solves this problem by letting the viewer know what daytime it is via intertitles, for example when Dracula lets Harker know that it is nearly midnight Shadows or shadings, as being the counterpart of lighting, are also a lot more important in black and white movies than in coloured movies.
Highlighting any detail in a given frame is only possible by making it brighter than the rest of the setting. When agent Renfield is introduced 4: This reflection, in combination with the shadings under his eyes from some top lighting, underlines his sinister appearance.
When Renfield tells Harker about sending him to Transylvania, again there is harsh side lighting which has the effect of Renfield casting a shadow onto Harker 5: When Harker tells his wife Nina about his journey to Transylvania 7: The striking lighting arrangement in this frame could stand for the fact that she feels a bad foreboding so tangible that she can nearly see the danger, whereas Harker is unsuspecting and cannot foresee that something bad will happen.
After an establishing shot As Harker and Dracula are the focus of the shots, they need to set themselves apart from the rest of the frame. This is done by strong key lighting, which makes them appear a lot brighter than the rest of the room.
It is striking that behind both of the characters a shoulder wide part of the wall is also brightly lit, so that the viewer gets a feeling for the space. Two last comments about lighting in this movie seem important to me.Nosferatu study guide contains a biography of F.
W. Murnau, literature essays, quiz questions, major themes, characters, and a full summary and analysis. About Nosferatu Nosferatu Summary.
NOSFERATU is a silent, German expressionist film made in the early s. It was directed by F.W. Murnau with cinematography by Fritz Arno Wagner and Günther Krampf, starring Max Schreck as Count Orlok and Gustav von Wangenheim as Thomas Hutter.
Nosferatu () Movie Review and Analysis January 21, Brendan Hodges Fascinatingly adapted about 20 years after Bram Stoker wrote the seminal novel Dracula by F.W. Murnau in , Nosferatu is the original text that spun hysteria into popular culture for the next century.
Jan 01, · Movie EMPIRE ESSAY: Nosferatu Count Orlok's move to Bremen brings the plague traceable to his dealings with the realtor Thomas Hutter, and the Count's obsession with Hutter's wife, Ellen the only 5/5. Nosferatu analysis essay - DasCoin nosferatu analysis essay describing Funny: Symphony of HorrorsThe name " Nosferatu" is actually derived from the Old Slavonic meaning of life according to existentialists word " nosufuratu, " which is borrowed from the Greek word.
Nosferatu study guide contains a biography of F. W. Murnau, literature essays, quiz questions, major themes, characters, and a full summary and analysis.