Nosferatu: A Symphony of Horror is a black and white silent German expressionist film, created by Friedrich Wilhelm “F.W.” Murnau in 1922. Nosferatu is also recognized as being probably “the first vampire film and its historical importance has been duly acknowledged by all historians of this genre” (Waller 178). Additionally, Nosferatu has been regarded not only as “the most intriguing and disquieting films to have been produced during the years of Weimar cinema but can also be considered as a key step in establishing the vampire as a cinematic figure and in shaping its connection with our subconscious fears and desires” (Massaccesi13). This film was produced in 1922 when Germany lost in World War (Roth 311). Due to this loss, people turned …show more content…
In support of this, Ellens writes “evil is externalized in the form of Count Dracula, who has the spirit of Nosferatu-the undead” (220). The use of the term undead refers to “something evil or sent by the devil” (Gresh 73). Evil in the form of Nosferatu gives the story a realistic impression. Ellen further states “the open-mouthed figure symbolizes the nature of Nosferatu, who is of an ancient family that feeds on humankind’s blood” (220). The description of Nosferatu, combined with the high use of shadows and the up close camera shot is to express the evil force in the film. Nosferatu is consistently shot in a low angle to express his dominance over the others and highlights his authority over others. As a result of his figure being dominant over the others, he is regarded as a “source of plague, with the rats under his command and following his orders. This is evil personified” (Gresh 74). Furthermore, there is a good use of shadows, which add a layer to create some depth in the film. The use of shadows helps to contribute to the “mysticism” element that strengthens the mise en scene of the film. Shadows bring out the dark physical appearance of Nosferatu. The use of white and black contributes to a high contrast that highlights the good …show more content…
Ellens summarized “what has been lost can never be regained again-the children and, by implication, humankind’s innocence” (221). In the film, evil seemed to conquer all. There is actually no answer to evil. In support of this, Ellens wrote “the feebleness of human attempt to conquer evil is certainly portrayed in film. No amount of human goodness or innocence seems to achieve the desired results, and society is time and again thrown back into the grip of evil” (234). In light of this, it can be seen that evil does not seem to vanish as it is. It controls or takes dominance over innocence and eventually destroys it. It is said again time after time that humans are unable to be regarded as purely good. As a result, “no amount of good deeds can overcome evil” (Ellens 234). Ellens further concluded that “the answer to evil from a biblical philosophical point of view is faith” (234). Therefore, faith is considered as the only way that one can be saved. In Nosferatu, Lucy, the wife of Hutter, identifies faith as something “that gives humans the ability to believe things not based on scientific proof that can aid in our common struggle against evil” (Ellen 234). The innocent Lucy has “researched the evil, and its accompanying death, that has come upon her city and has discovered that sacrifice with a pure heart is the only way to vanquish it” (Ellen 228). Lucy sacrificed
Nosferatu , Directed by F.W. Murnau 1922, Youtube Video, 1:32 , Accessed May, 14, 2014 https://www.youtube.com/watch?v=HBKI5Zb9v14
Many films, and sometimes film genres, are dismissed as being part of the cinema of escapism. This assumes that in times of particular social or economic hardship (often on a national or international level), people go to movies for the sole purpose of “getting away from it all.” While some films may follow this overall trend, it is important to note that it cannot be a generalization made for all films. During the Weimar era in Germany, the nation was in the midst of a national struggle on many fronts. As a people, Germans attempted to deal with their past (the problems during World War I as well as the consequences of their loss) and move toward the future (finding a solution for their economic struggles and defining themselves culturally and socially). This period saw a resurgence of the horror genre, this time adapted to the new medium of film. However, the way horror was portrayed via film is the interesting part: it drew specifically on the struggles of the nation to instill horror. This is an exact reversal of the idea of cinematic escapism, since many Weimar era horror films used relatable struggles in order to both entertain and terrify (in this case, existing concurrently as well as dependently on each other). One of the clearest examples of this is through the film Nosferatu, a cinematic retelling of Bram Stoker’s novel Dracula directed by F.W. Murnau. The budding horror genre of the Weimar era, as exemplified by Nosferatu, succeeded because it drew parallels to the German people’s collective post-World War I mindset, including references to the terrible nature of the war itself and the fearful prospect of how to move forward.
The problem of evil is a difficult objection to contend with for theists. Indeed, major crises of faith can occur after observing or experiencing the wide variety and depths of suffering in the world. It also stands that these “evils” of suffering call into question the existence of an omnibenevolent and omnipotent God of the Judeo-Christian tradition. The “greater good defense” tries to account for some of the issues presented, but still has flaws of its own.
The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count with his plans and talk to him about all his options. At first Jonathan was surprised by the Count’s knowledge, politeness, and overall hospitality. However, the longer Jonathan remained in the castle the more uneasy and suspicious he became as he began to realize just how strange and different Dracula was. As the story unfolded, Jonathan realized he is not just a guest, but a prisoner as well. The horror in the novel not only focuses on the “vampiric nature” (Soyokaze), but also on the fear and threat of female sexual expression and aggression in such a conservative Victorian society.
To set the tone in the story the author had to describe the surroundings of the characters. For example the author states, "with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit." when giving a detailed response of how he feels about the house. This helps show that the author himself feels depressed when in sight of the building and gives the reader a thought of how the house looks. Other textual evidence in the passage also shows a feeling of suspense like the quote, "There was an iciness, a sinking, a sickening of the heart - an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. " which is how the author feels when he thinks about the house. The author cannot bear to imagine the house because he has a dark and negative imagination with different fears he thinks can come to life because of how unsettling the house makes him feel. While suspense is a direct indication of a depressed and dark tone, some other Gothic elements can be used indirectly to describe negative values in the story.
While studying the diabolical figures in the devil, the idea of presenting Dracula came to mind. Dracula represents the devil in many similar ways. Dracula remains as a character in many diabolical movies and films. For instance, Van Helsing provides a good interpret of how Dracula remains noticed in the past and in present day. Although Dracula’s character obtains different views in every movie and film, he plays an important role in Stephen Sommers Van Helsing movie. In the movie, he acts as many different things. Demonstrating both the kind and evil inside, Dracula portrays his character as a mystery. Different views of Dracula throughout the movie include harsh, strong, powerful, evil, the devil, and unstoppable. The studies of Dracula
Dracula : the True Story. Dir. Maththias Kessler. Prod. Kurt Langbein. By Langbein & Skalnik. Perf. Matthias Kessler. Janson Media, 2007. DVD.
‘Dracula’ is a novel that probes deeply into people’s superstitions, fears and beliefs of the supernatural. The creature Dracula is an evil being with no concern for others, he kills for his own ends and cannot be stopped, and this is what makes ‘Dracula’ truly frightening.
This creates a sense of horror because, people in the 19th century were very superstitious and believed that going against nature means going against God, and that's the worst sin that can be. committed. Then the s Darkness had no effect upon my fancy. This creates a sense of horror because he was different from the other people as well as the human characteristics. He had no fear of death.
The vampire had been depicted as the epitome of offensive and seductive behavior in their early representations. It has suffered an enduring image of something inhuman and monstrous that feeds and thrives at the expense of others. As David Punter and Glennis Byron have asserted, “Confounding all categories, the vampire is the ultimate embodiment of transgression” (The Gothic 268). The transgressive behavior of the vampire was first observed with Stoker’s Dracula. Although this figure is attractive to us in many ways, with his intelligence and immortality, the Count is primaril...
The use of imagery or personification increases the suspense in the story, ‘Shadows cower’ is a very descriptive way of showing how frightening the mansion is. It sounds as if the shadows which are linked to darkness themselves are afraid of a greater evil. We wonder what this great evil could be that makes evil itself tremble. Another personification used is ‘candles writhing’. Candles are usually associated to gothic stories, as it is only small source of light within a vast darkness of the room.
From Transylvania to Hollywood, vampires have transformed from unfamiliar, mysterious personalities to one of the most dominant monsters in the horror genre today. Vampires are one of the oldest and most noted creatures in mythology, with many variations of them around the world. Although the most famous version is Bram Stoker’s Dracula, many variants have come before and after telling of the same legend with their own added ideas and modifications to relate to their cultures. Today, there is a multitude of literary and film works that convey and resurface peoples’ fear of vampires. As gothic works like Dracula, by Bram Stoker and Scooby-Doo! and the Legend of the Vampire directed by Scott Jeralds share certain traits reflective of the genre;
F. W. Murnau’s Nosferatu was a powerful commentary on disease and lust for its time. The character of Count Orlok himself was a metaphor for most evils such as disease, lust, and death. Towards the end of the film, people began to get sick from a disease that originated from Transylvania. What also causes widespread epidemics is that people unknowingly carry them into their home countries. Paranoia of the disease is also a crucial element of the film. The film’s innovative use of shadows and lighting also add more depth and suspense to the film and adds on to the commentary and social themes of the film. The iconic scene where Orlok went up the staircase and you saw nothing but his shadow stuck out to audiences all around for good reason.
it horrifies us and reinforces our sense of boundaries and normalcy” (Halberstam 13). Assuming that Bram Stoker’s Dracula sets the archetype of the vampire, it is clear that modern vampires have demonstrated a decrease in the Gothic horror despite similarities in the Gothic imagery and themes, and such a shift is attributed to a changing value of the limit within society and postmodernism. The Count is the benchmark of the vampire archetype as the monstrous Other that “announces itself as the place of corruption” (Anolik and Howard 1). Dracula is associated with disruption and transgression of accepted limits—a monstrosity of great evil that serves to guarantee the existence of good (Punter and Byron 231).
It is perhaps the most difficult intellectual challenge to a Christian how God and evil can both exist. Many of the greatest minds of the Christian church and intellects such as Augustine and Thomas Aquinas spent their entire lives trying to solve this problem, and were unsuccessful (Erickson, 2009, p.439). However, this dilemma is not only an intellectual challenge, but it is emotional. Man feels it, lives it. Failing to identify the religious form of the problem of evil will appear insensitive; failure to address the theological form will seem intellectually insulting. This conundrum will never be completely met during our earthly life, but there are many biblical and philosophical resources that help mitigate it.