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
1. Introduction
2. Colours and Lighting
2.1. Symphonie (1922)
2.2. Phantom (1979)
3. Sound
3.1. Symphonie (1922)
3.2. Phantom (1979)
4. Cinematography and Editing
4.1. Symphonie (1922)
4.2. Phantom (1979)
5. Conclusion
Objectives and Topics
This paper aims to compare Friedrich Wilhelm Murnau’s 1922 classic Nosferatu – Eine Symphonie des Grauens with Werner Herzog’s 1979 remake Nosferatu – Phantom der Nacht to analyze how different filming techniques influence the horror genre and the viewer's emotional experience.
- Comparison of lighting and color techniques in black and white versus color film.
- Evaluation of the impact of background music versus diegetic sounds on atmospheric tension.
- Analysis of cinematographic choices, including camera movement and shot duration.
- Assessment of editing styles and their role in establishing narrative continuity.
- Critical investigation into whether modern filmmaking developments have genuinely improved the horror genre or resulted in unintentional parody.
Excerpt from the Book
2.1. Symphonie (1922)
Since Murnau’s film is a black and white movie lighting is more important than in Phantom. Without colours, the lighting becomes the only means of highlighting or blending in features that the producer deems more or less important. The absence of colours moreover entails a major problem in Symphonie: the depiction of day and night. Whereas in coloured movies it is easy to deptict whether it is light or dark outside, in the black and white movie it is hard to film in darkness. Therefore even night scenes have to be well lit in order for the setting to be seen at all. This brings about some confusing scenes in Symphonie. Knowing that Dracula can only be outside at night-time, the viewer will wonder about some settings when watching the movie. For example, when Jonathan Harker arrives at the castle shortly before midnight (20:12), the setting is illuminated so brightly that it looks like noon instead. The viewer gets the same impression when Dracula walks through Bremen with his coffin, especially when he passes a big tree that casts a shadow (59:34). This kind of shadow can only be cast in daylight, so the audience has to guess that it is night by the fact that Dracula cannot live in daylight. Wrongly depicting such important facts reveals that it must have been hard to film black and white movies distinguishing between night and day.
Summary of Chapters
1. Introduction: Presents the films and the thesis that modern technological developments have not inherently improved the horror genre.
2. Colours and Lighting: Examines how Murnau uses lighting to compensate for the lack of color, while contrasting this with Herzog’s use of color to define atmosphere and character.
3. Sound: Analyzes the psychological effect of background music in the silent version against the diegetic sound design in the 1979 remake.
4. Cinematography and Editing: Investigates the structural differences in shot composition, camera movement, and pacing between the two productions.
5. Conclusion: Summarizes findings and argues that the original silent film remains more effective at creating horror than the modernized remake.
Keywords
Nosferatu, Horror Film, F.W. Murnau, Werner Herzog, Cinematography, Lighting, Sound Design, Editing, Silent Film, Atmosphere, Adaptation, Dracula, Genre Analysis, Visual Techniques, Expressionism
Frequently Asked Questions
What is the primary subject of this academic paper?
This paper provides a comparative analysis of the horror film Nosferatu in its 1922 original version (directed by F.W. Murnau) and its 1979 remake (directed by Werner Herzog).
What are the central thematic areas covered in the analysis?
The study focuses on three technical pillars: the use of colors and lighting, the function of sound (music versus diegetic sound), and the role of cinematography and editing in creating a sense of horror.
What is the primary research goal of this work?
The author intends to demonstrate that, despite advancements in filming technology over five decades, the genre of the horror film has not necessarily profited, and may even risk appearing absurd or parodic through these developments.
Which scientific methods are employed by the author?
The paper utilizes film analysis, comparing specific scenes and technical elements such as lighting, camera angles, sound cues, and editing techniques across both films to support the argument.
What core topics are examined in the main body?
The main body breaks down the comparison into lighting strategies, the psychological influence of sound, and the differences in shot duration, camera movement, and narrative continuity.
Which keywords characterize this analysis?
Key terms include Nosferatu, Horror Film, Murnau, Herzog, Cinematography, Lighting, Sound Design, Editing, and Expressionism.
Why does the author specifically criticize the dialogue in the 1979 remake?
The author argues that the dialogue in Phantom often feels unintendedly comic, causing the film to risk appearing as a satire of the original rather than a serious horror piece.
How does the author interpret the significance of the "red" color in the 1979 film?
The author views the prominent use of red as a symbolic "red thread" representing danger, blood, and the literal sacrifice of Dracula, though noting that it sometimes looks artificial.
What is the conclusion regarding the "ideal" horror film?
The author concludes that an ideal horror film would combine a black and white aesthetic with diegetic sounds, minimal dialogue, and short takes, favoring the style of the 1922 original over the 1979 remake.
- 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
