Introduction to European culture: Nosferatu, the first version (1922)
Résumé de l'étude de cas
Nosferatu the Vampire (Nosferatu, eine Symphonie des Grauens in the original) is a german silent film by Friedrich W. Murnau (who is a pioneer in this genre of movie) screened for the first time March 5, 1922 in Berlin.
This is the first film adaptation of the novel Dracula by Bram Stoker, although she was not authorized by the copyright owners. It is also one of the first horror movies and one of the great masterpieces of German Expressionist cinema. First, we will explain the background of Nosferatu and make a technical approach. Then we will analyze the importance and influence of the movie. Finally, there is a comparison between this genre at the beginning of this century and nowadays.
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Extraits de l'étude de cas
[...] It is this partition, completed by the latest discoveries from the musicologist Gillian B. Anderson at the Library of Congress in 19947 and performed by the Radio Symphony Orchestra Saarbrücken still conducted by Berndt Heller, which was accompanying the restored version of 2005. THE INFLUENCES OF NOSFERATU Many contemporary artists have been strongly influenced by Nosferatu. American filmmaker Abel Ferrara and uses an excerpt of the feature film in The King of New York. An excerpt also passes over a screen Televison in Scream 2. [...]
[...] The headings have been restored after a copy of the Staatliche Filmarchiv the GDR. This version was presented June at the Cinémathèque française. A copy tinted using filters, in the spirit of the original version, is planned for the first time at the Berlin Film Festival February accompanied by the music of Erdmann THE TECHNICAL APPROACH Shooting began in July 1921 and most of the scenes set in the fictional town of Wisborg were shot in the cities of Wismar and Lübeck. [...]
[...] In The Shadow of the Vampire, the emphasis is placed on the rumors that were around this shoot, especially those who saw the actor Max Schreck a real vampire. We must not forget that Nosferatu was the subject of a remake in 1978. Nosferatu Phantom of the Night, directed by Werner Herzog, Klaus Kinski starred in the role of the vampire, and also Isabelle Adjani. Werzog, who was inspired by both the Bram Stoker's novel and original film, led the tribute to use some of Nosferatu film locations for shooting his own movie. [...]
[...] The character of Nosferatu is grandiose: the extremely chilling picture is nevertheless not conveyed thereafter. The carpet of sound that does not stop from beginning to end strengthens creaky ambience. Unfortunately, you can not help but notice that the script has a few things a little weak: Orlok (Murnau changed all the names, not having the rights to adapt a literary work by Bram Stoker, and also the end differs from the book) appears in a mirror (unlike the original text), and similarly, to kill a vampire, the prerequisite is that drink the blood of a pure young woman, missing the rooster and disappear in the sun (in the book, Dracula can walk through London in broad daylight): gold, Ellen, thinking rid Wisborg - imaginary city - the scourge, commits a sin of pride. [...]
[...] For locations near the castle used for filming as the town of Dolny Kubin where Hutter made a stop on his trip, the river Vah, which was turned into a raft trip with the coffins. The High Tatras will also serve as decoration representing Transylvania. One of the key is this movie is the music. The music has for us a big role because it gives the tone of the film. During the entire movie, the music is still present. Music immerses us in this macabre and confusing atmosphere. It reminds me the Chaplin's movie. [...]
À propos de l'auteur
Maxime b.etudiantCinémaIntroduction to European culture: Nosferatu, the first version (1922)