Nosferatu Analysis

Throughout the novel Dracula, the text prominently features the ‘uncanny.’ In literature and other texts, the uncanny refers to an unfamiliarity that is frightening familiar. It’s presence in Dracula is obvious as we and the novel characters see Dracula as uncanny. Both appropriations of Dracula, Nosferatu (1922) and Bram Stoker’s Dracula (1992), reflect their context and hence reflect the values, idea and themes prominent in their context. Nosferatu resembles its isolated German Expressionist Cinema context through its jewish propaganda portrayed by many techniques, most notably its heavy use of dramatic lighting. Bram Stoker’s Dracula’s contrasting themes include its romanticisation of Dracula which expresses the romantic notions prominent

The story of Nosferatu is a tale of xenophobia that used heavy expressionism to display its stances. Without all of the expressionist elements for it, it would just be a bunch of people fearing migrant citizens as they don’t want their culture to be taken over by them. The added expressionism in the makeup, cinematography, acting, and set design added a more fearful and anxious tone to the film. The people of yesterday and today fear everything that Orlok stood for such as madness, disease, and lust as they still believe foreigners will bring all of those things to their home countries. The imagery in the film warned us about the power of Nosferatu and that he was something not to be tampered with. All of these techniques formed Murnau’s masterpiece film and it set the standard for the horror films of yesterday and today.

Darkness is used throughout the novel to symbolize savagery, death and the unknown. Marlow's observation is reinforced when London is described as a "brooding gloom". In thisinstance the physical description of the city serves to reinforce Marlow's theory, and refute the earlier judgments of the frame narrator.

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 time periods.

Expressionism can be described as a movement in the fine arts that emphasized the expression of inner experience rather than realistic portrayal, looking to obtain not objective reality, but the subjective emotions and responses that objects and events arouse in the artist. Several characteristics of expressionism are distortion, exaggeration, primitivism, and fantasy. “The Green Table,” a ballet by Kurt Jooss, 1932, is an ideal example of expressionism because it depicts the choreographer’s personal interpretation of war through the use of movement, music by Fritz Cohen and lighting by Hermann Mankard.

In Richard Connell's adventure fiction story “The Most Dangerous Story” the literary device he uses is foreshadowing to help predict the future. The first example of foreshadowing was on pg 1. paragraph 5, Connell is describing their voyage to Amazon, and talking about how scary the moonless night is. In this section the author states, “ Can't see it," and Whitney replies "You've good eyes, and I've seen you pick off a moose moving in the brown fall bush at four hundred yards, but even you can't see four miles or so through a moonless Caribbean night.

Dracula is a “devouring monster”(85) who brings “clammy hands of death”(86), just as the storm did. Stoker connotes a viscous tone which emphasizes Dracula’s intentions. The strong connotated words The reader understands now that Dracula has arrived more deaths are going to occur. Stoker utilizes dramatic irony when foreshadowing that Dracula is on the ship: “Between the inner hand and the wood was a crucifix(88). The religious allusion is placed again to present to the reader that there is an unholy being present, which is Dracula. This further justifies the Stoker’s subtle foreshadowing. THe crucifix was used previously for the same reason; to keep Dracula away. Stoker subtly placed the symbol of the “immense dog”(87) jumping out of the boat. In previous chapters stoker reveals to the readers Dracula’s power of controlling animal, specifically canines. The ship was “Unsteered save by the hand of a deadman”(87), Dracula exploited the ship’s crew to take him to England. Although it seems like Stoker is referencing the captain of the boat, however the repeated reference to death leads to Dracula. The contrast of storm allowed the reader to understand Dracula’s intentions. He desires to spread evil and death for selfish desires. There was foreshadowing demonstrating to the readers who is susceptible to Dracula’s power: “Affects persons of a sensitive nature”(84). The reader can infer that if the weather has such impact on sensitive nature, people, the full power of Dracula will be more

Horror is one of the characteristics of Gothic story and it has been depicted in an outstanding way in the story. Moreover, many people find horror as a compelling factor that made them read the story, horror has been depicted in the story by Count Dracula, the ruthless and evil monster. Count Dracula is the antagonist in the story is on the path of destruction, infecting people in his way and increasing his radius of preys by moving to London. The count is shown in the book under different aliases, Dracula has different supernatural traits such as he can change forms to different animals, shadows, he can also control the weather. These different scenes in the story increase the

Tales of the Grim Sleeper is a documentary about the elusive serial killer Lonnie Franklin, filmed by Nick Broomfield. This film shows the viewer first hand accounts from neighbors and friends of Franklin telling their stories of things they saw and the Lonnie they knew. In this film you are also shown these perspective of the mothers of the victims, organizations who want justice for the victims of Lonnie Franklin.

Sintia Vardeh Mrs. Martin ENG 4U1 14 June 2015 All The Hope We Cannot See There is no doubt that war is a catastrophe, which befalls human beings. It is destructive, merciless and evil to humanity. In his novel All the Light We Cannot See, Anthony Doerr reflects on the effects of war on humans. In the French coastal town of Saint-Malo a calamitous war is reaching its climax.

Throughout the book Stoker manages to use the trope wild and desolate landscapes as a base and setting for what occurs throughout the book. Certain settings can be distinguished either by character or the actions that are taking place. With wild and desolate landscapes it shows and sets up a gloomy and dark setting which can leave the reader on edge or to think that nothing good can occur there. The novel starts off with Jonathan traveling to the Count’s castle which is in a remote place in Transylvania. In the words of Stoker “- in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula” (P. 2). The use of this trope sets up the location of where the Count lives and what kind of person he might be through seeing as to where he is located, a place that cannot be found on any map. The author further concretes the remote place in which the castle is located when Jonathan arrives and catches his first glimpse of the place. Stoker writes, “In the gloom of the courtyard looked of considerable size, and as several dark ways led from it under great round arches, it perhaps seemed bigger than it really is. I have not yet been able to see it by daylight” (p.14). Gothic novels always execute the need to have a place, one distinct location that places a character or villain in, to have the characters experience something or set up what will occur throughout

“The Fall Of The House Of Usher” is a suspense, novel written by the famous dark romantic “Edgar Allen Poe”. Poe is a master at making the creepy, even more horrifying by using specific tone. His tone is is the idea of prevailing darkness and pure gloom. Just about everything in this story is draped in darkness to add to his sinister plot. And at no point is there a happy feeling, the plot just keeps dragging the character into a deeper pit of despair.

The realism movement of the late nineteenth century produced works in literature that were marked by reduced sentimentality and increased objectivity. The goal was to let details tell the story, and remove noticeable bias of the author through scientific and detailed descriptions. While this form of storytelling undoubtedly is most accurate, it creates difficulties for authors to incorporate their themes into the story. This resulted in an increase in symbolism in realist works. The objects and descriptions within the story are the author’s vehicle for displaying the values and themes of the work. Light and darkness are symbols commonly used in literature, and have held specific symbolic

Stylistically, M appears to be a continuation of the style that was established in cinema through the German Expressionist movement and developed through the Kammerspielfilm, which focused on the actors, lighting, and set design to further investigate the psychological foundations of characters in middle and lower-class environments (150). M can be considered to be part of the third type of film that was produced during the Weimar period that is known as die neue Sachlichkeit (New Objectivity), which portrays "fatalistic and grimy lower-class realism" through the cinematic lens (150). M is able to marry characteristics found in each of these three periods of German cinema.

As we look deeper into the historical contexts that came about in Germany during the 1920’s, Germany was confined due to the isolation the country was experiencing during World War I. During this solitude, the German government banned foreign films. German Expressionism was formed in result of the conclusion of World War I which compelled Germany to establish its own style of cinema. German Expressionist films produced in the Weimar Republic