Mise en Scene in Nosferatu
Nosferatu: A Symphony of Horror
F.W. Murnau’s “Nosferatu” is a classic visual tale of Bram Stoker’s “Dracula”. The silent film is filled with obsession and lust, surrealism as well as the prosaic theme of good versus evil. The film recounts the tale of Hutter, a real estate agent hungry for money, and his journey to vampire Count Orlak’s mansion, as well as the twists and turns found heavily within the scenes. Nosferatu (Count Orlak’s alter ego) falls for Hutter’s wife and moves in to the residence next door to the couple, where a series of events occur that would ultimately lead to the fanged beast’s demise.
Mis en scene is a pivotal element throughout the film, especially for expressionist director Murnau, whose natural take on frightening the audience with the use of lighting, camera angles and framing supersedes that of directors who emphasize the huge props or costumes. The director’s excessive use of shadows is a tool used in order to make the events happening throughout the film become more realistic, as well as typifies the evil located in the character of Nosferatu. Cast shadows can be seen throughout the film and all is due to the lighting Murnau chose to give. For example, in among the last scenes of the movie, we see Ellen lying in bed with Nosferatu’s shadow casting above her. This take on camera angle and lighting is especially important as it sums up one of the main motifs, lust. Ellen does not struggle under the dominance of the Count, nor does she fear for her life, rather on the contrary she is offering herself to him and she likes it. This erotic interpretation can be splintered down to the way the director played with the setting. Ellen's body is clearly brighter than her surroundings, which also reinforces the eroticism of her movements. Also, Nosferatu's shadow is bigger than it is in any other scene, which allows the audience to feel that at that moment evil is the strongest, and the most powerful.
Setting is a very crucial and profound
F.W. Murnau’s “Nosferatu” is a classic visual tale of Bram Stoker’s “Dracula”. The silent film is filled with obsession and lust, surrealism as well as the prosaic theme of good versus evil. The film recounts the tale of Hutter, a real estate agent hungry for money, and his journey to vampire Count Orlak’s mansion, as well as the twists and turns found heavily within the scenes. Nosferatu (Count Orlak’s alter ego) falls for Hutter’s wife and moves in to the residence next door to the couple, where a series of events occur that would ultimately lead to the fanged beast’s demise.
Mis en scene is a pivotal element throughout the film, especially for expressionist director Murnau, whose natural take on frightening the audience with the use of lighting, camera angles and framing supersedes that of directors who emphasize the huge props or costumes. The director’s excessive use of shadows is a tool used in order to make the events happening throughout the film become more realistic, as well as typifies the evil located in the character of Nosferatu. Cast shadows can be seen throughout the film and all is due to the lighting Murnau chose to give. For example, in among the last scenes of the movie, we see Ellen lying in bed with Nosferatu’s shadow casting above her. This take on camera angle and lighting is especially important as it sums up one of the main motifs, lust. Ellen does not struggle under the dominance of the Count, nor does she fear for her life, rather on the contrary she is offering herself to him and she likes it. This erotic interpretation can be splintered down to the way the director played with the setting. Ellen's body is clearly brighter than her surroundings, which also reinforces the eroticism of her movements. Also, Nosferatu's shadow is bigger than it is in any other scene, which allows the audience to feel that at that moment evil is the strongest, and the most powerful.
Setting is a very crucial and profound