Friedrich Wilhelm Murnau’s Nosferatu – Eine Symphonie des Grauens is a horror film classic from 1922. In 1979 Werner Herzog produced a movie called Nosferatu – Phantom der Nacht, in which he used Murnau’s direction ideas.
In this paper, I first analyse and compare the influence of colours and lighting on the atmosphere in both movies. Thereafter, I point out the differences in atmosphere between the silent movie with background music and the film with diegetic sounds. Finally, I focus on some differences in cinematography and editing in order to find out how different techniques evoke different feelings in the viewer.
I do all this with the intention of proving that, even though advanced filming techniques have improved the understanding of details in movies, the genre of the horror film has not profited from the developments but, in contrast, runs the risk of appearing absurd or parodic.
Table of Contents
- Introduction
- Colours and Lighting
- Symphonie (1922)
- Phantom (1979)
- Sound
- Symphonie (1922)
- Phantom (1979)
- Cinematography and Editing
- Symphonie (1922)
- Phantom (1979)
- Conclusion
Objectives and Key Themes
This paper analyzes and compares two film adaptations of Bram Stoker's Dracula: Murnau's 1922 silent film Nosferatu: A Symphony of Horror (Symphonie) and Herzog's 1979 Nosferatu the Vampyre (Phantom). The analysis focuses on how different cinematic techniques, particularly lighting, sound, and cinematography, contribute to the overall atmosphere and impact of the horror genre. The objective is to demonstrate how advancements in film technology have not necessarily improved the effectiveness of horror, potentially leading to a loss of impact or even a parodic effect.
- The impact of lighting and color in creating atmosphere in silent versus sound films.
- The role of sound design in enhancing or diminishing horror.
- The evolution of cinematography and editing techniques in the horror genre.
- A comparison of the effectiveness of different cinematic techniques in conveying horror.
- An assessment of the changing nature of horror in the context of technological advancements.
Chapter Summaries
Introduction: This chapter introduces the two films under analysis: Murnau's 1922 silent film Nosferatu: A Symphony of Horror and Herzog's 1979 Nosferatu the Vampyre. It highlights the unauthorized adaptation of Stoker's novel and the subsequent copyright issues surrounding Murnau's film. The chapter establishes the differences between the two films – one a silent black and white film, the other a color film with sound – and outlines the paper's methodology, focusing on the analysis of color and lighting, sound, and cinematography to compare their effectiveness in conveying horror. The author clarifies that the analysis will use the public domain version of Symphonie, acknowledging potential discrepancies with other versions.
Colours and Lighting: Symphonie (1922): This section analyzes the use of lighting in Murnau's silent film. The absence of color necessitates a heavy reliance on lighting to create atmosphere and delineate scenes. The chapter discusses the challenges of depicting day and night in a black and white film, highlighting instances where the lighting creates confusion regarding the time of day. It explores how lighting and shadow are used to highlight characters, emphasize their sinister nature (as with Renfield), and foreshadow events. The strategic use of lighting to define space and focus the viewer's attention on specific details, such as Dracula's hands and face, is also analyzed. The symbolic use of Dracula's shadow to create suspense before his attacks is a key element discussed. The analysis showcases how Murnau masterfully uses limited tools to create a chilling atmosphere.
Colours and Lighting: Phantom (1979): In contrast to Murnau's film, this section examines Herzog's use of color to establish atmosphere and highlight key aspects. The presence of color significantly alters the overall feel, making the film less dark and scary. The chapter analyzes how color conveys information not readily available in black and white, such as the time of year. A comparison is drawn between the portrayal of Renfield in both films, showing how the different lighting and color schemes impact the character's perceived menace. The analysis demonstrates how Herzog's use of color offers a different approach to creating atmosphere, moving away from the stark contrasts of light and shadow found in the silent film.
Keywords
Horror film, Nosferatu, cinematic techniques, lighting, sound design, cinematography, editing, silent film, color film, atmosphere, comparison, Murnau, Herzog, Bram Stoker, Dracula, black and white, technology, genre evolution.
Nosferatu Film Analysis: Frequently Asked Questions
What is this document about?
This document is a comprehensive preview of an academic paper analyzing and comparing two film adaptations of Bram Stoker's Dracula: F.W. Murnau's 1922 silent film Nosferatu: A Symphony of Horror (referred to as "Symphonie") and Werner Herzog's 1979 Nosferatu the Vampyre ("Phantom"). The analysis focuses on how cinematic techniques, particularly lighting, sound, and cinematography, contribute to the overall atmosphere and impact of the horror genre in each film, examining how technological advancements have affected the genre's effectiveness.
What are the main themes explored in the paper?
The paper explores the impact of lighting and color in creating atmosphere in silent versus sound films; the role of sound design in enhancing or diminishing horror; the evolution of cinematography and editing techniques in the horror genre; a comparison of the effectiveness of different cinematic techniques in conveying horror; and an assessment of the changing nature of horror in the context of technological advancements.
What films are compared in this analysis?
The analysis compares F.W. Murnau's 1922 silent film Nosferatu: A Symphony of Horror and Werner Herzog's 1979 Nosferatu the Vampyre. Both are adaptations of Bram Stoker's Dracula, but differ significantly in their cinematic techniques and overall impact.
What aspects of filmmaking are analyzed?
The paper analyzes the use of color and lighting, sound design, cinematography, and editing techniques in both films. It examines how these techniques contribute to the creation of atmosphere and the overall effectiveness of the horror presented.
What is the methodology of the analysis?
The analysis compares and contrasts the two films by examining the specific cinematic choices made by each director. It focuses on how the absence or presence of color, sound, and differing editing styles impact the viewer's experience and the effectiveness of the horror depicted.
What is the conclusion of the analysis (as previewed)?
The preview suggests that the analysis will explore whether advancements in film technology have necessarily improved the effectiveness of horror, potentially leading to a loss of impact or even a parodic effect. The specific conclusions drawn from the comparison of the two Nosferatu films are not fully detailed in the preview.
What are the key chapters covered in the paper?
The paper includes an introduction, chapters analyzing color and lighting in both films (separately), chapters analyzing sound in both films (implied), and a conclusion. The preview includes summaries of the introduction and the color and lighting chapters.
What are some key keywords associated with this analysis?
Key keywords include: Horror film, Nosferatu, cinematic techniques, lighting, sound design, cinematography, editing, silent film, color film, atmosphere, comparison, Murnau, Herzog, Bram Stoker, Dracula, black and white, technology, genre evolution.
Which version of *Nosferatu: A Symphony of Horror* is analyzed?
The analysis uses the public domain version of Nosferatu: A Symphony of Horror, acknowledging that potential discrepancies might exist with other versions.
- Quote paper
- Lisa Jensen (Author), 2010, The Horror Film - Analysis of "Nosferatu" from 1922 and 1979, Munich, GRIN Verlag, https://www.grin.com/document/181178
