The Relevance of Sound in Silent Films Before the introduction of sound in the film industry‚ two prominent silent films during the 1920’s were Nosferatu: A Symphony of Horror and The Battleship Potemkin. In Chapter 11 of The Film Experience‚ Corrigan and White pose a question regarding the use of sound in silent films. Corrigan and White asked whether sound allows film to fulfill a mission to reproduce the world‚ as it is‚ or if sound hinders cinema’s visual expression. Considering Corrigan
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Texts can be modified or appropriated to suit different audiences or purposes‚ yet still remain firmly within the genre. Discuss Stoker’s ‘Dracula’ and at least one of the films you have studied. FW Murnau’s 1921 film Nosferatu is an appropriation of Bram Stoker’s 1897 novel Dracula. Despite it being an appropriation‚ explicit gothic conventions remain evident‚ which explore societal fears and values. These fears and values differ from Dracula‚ due to distinct contextual influences of different
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inspection found to have many themes and views relevant to the time it was written. This caused it to be a huge success of its time and in 1922 the German director Murnau seeing the success of the story put it under transformation and named it Nosferatu. This silent film was very similar to Dracula except it was more relevant to the times it was written in. Public opinion about certain aspects of society had changed and
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you are not only introduced to a Vampire‚ whom later on you have feelings similar to pity for him‚ you are also introduced to this man‚ just a human man‚ who wants to make a film all about Nosferatu. But with this man‚ you do not sympathize or have any feelings for him. In the original works of Dracula and Nosferatu‚ it was always the vampire who was the villain‚ but in this movie‚ it was actually the director that had more monster-like qualities. We even see a whole scene of him in a cabaret club in
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were established. Nosferatu was also written in the time of modernism‚ where there was a sense in that western culture had lost its values. Shadow of a Vampire is a recent‚ post-modern text that focuses on the filming methods and techniques used to film Nosferatu. Using post-modern techniques that are comparable to satire in some scenes‚ Shadow of a Vampire combines the two gothic texts into a new text‚ using a film within a film technique. As previously noted‚ Dracula‚ Nosferatu and Shadow of a Vampire
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Germany lead to a breakdown of normality that lead to events later to come. Nosferatu is described as “a metaphor for a Germany stuck between two realities. Orlok is the past; he represents a system that fed off of its subjects” 9 This could reference the period in which Germany was ruled under emperors known as Kaisers. Germany’s frustration with this type of rule lead to the dissolution of the monarchy shortly before Nosferatu was released. “The decay of the society and culture that had been part of
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of Angela Carter‚ Tulsa Studies in Women’s Literature Vol 20‚ no. 1 (spring 2001)‚pg. 107 [ 6 ] [ 9 ]. Bram Stoker‚ Dracula (1897) reprint‚ (London: Penguin‚ 1993)‚ pg.274-5 [ 10 ] [ 25 ]. “Murnau : I Nosferatu”‚ in “Film Comment” Vol 12‚ No 3‚ ( May- June‚ 1976) [ 26 ] [ 27 ]. “Murnau : I Nosferatu”‚ in “Film Comment” Vol 12‚ No 3‚ ( May- June‚ 1976) [ 28 ] [ 29 ]. ‚G. P. ‚ Guilhermo‚ Sight and Sound ‚ Vol 36‚ No3‚ 1967‚ pg.150 [ 30 ] [ 33 ]. G. P. Guilhermo‚ Sight and Sound‚ Vol 36‚ No3‚ 1967 [
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Returns (1992)‚ all draw parallels to expressionist films of the era and the characteristics these films feature. Burton’s expressionist style films are predominantly similar to that of Robert Weine’s The Cabinet of Dr. Caligari (1920)‚ F. W. Murnau’s Nosferatu (1922)‚ and Fritz Lang’s Metropolis (1927). German expressionism was first seen in famous artworks such as The Scream by Edvard Munch (1893)‚ and continued to spread into other areas such as architecture‚ theatre and finally‚ film. During this
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2006). Additionally‚ World War I‚ (1914-1918) took over two million German lives (A. Prost‚ 2014) making the war also pertinent. Certainly‚ the pandemic and the war were still fresh in the minds of the filmmakers and moviegoers in 1922‚ the year Nosferatu was released. The pandemic of influenza and the war‚ without doubt “plagued” the world‚ so this combined interpretation is plausible (M. Mulvey-Roberts‚ p.194). A more covert interpretation involves anti-Semitism (G. Fuller‚2013). During the Middle
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often resulted in pandemonium and terror. Out of German Expressionism came Film Noir‚ a coined phrase used to describe dark and cynical films that followed World War II (Dirks). Expressionist films like Nosferatu‚ are attributed to the creation of modern-expressionism in American films. Nosferatu and No Country for Old Men include similar main characters‚ ominous-looking camera shots and sets‚ and instances of fixation and insanity portrayed by the main characters. Nosferatu’s main character Count
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