Cinema as art serves several functions, not least of which is visual impact. Yet because motion pictures are inherently multimedia, soundscape, theater, and writing converge with the elements of visual cinematography and mis-en-scene. Film is often dichotomized, placed into an artificial binary of art films versus films made for a popular audience and designed for entertainment. However, many movies in the history of cinema prove that the line between art and entertainment is at its blurriest with filmmaking. Some films have also reached the level of being considered "classics," either in their specific genre or in the gamut of filmmaking. One of those films is the original 1922 version of Nosferatu. Directed by F.W. Murnau, the 1922 film Nosferatu exemplifies surreal and haunting cinematography, deft use of timing, pacing, and editing, as well as integration of sonic elements.
Murnau's Nosferatu has been called the "best and most artistically-realized" film about vampires (Leavy 2). Based on the Dracula novel by Bram Stoker, which was itself inspired by centuries of Eastern and Central European folklore, Nosferatu offers audiences a multilayered work of art: complete with eroticism and a sense of the grotesque (Leavy). Film critic Roger Ebert states, "To watch F.W. Murnau's Nosferatu (1922) is to see the vampire movie before it had really seen itself. Here is the story of Dracula before it was buried alive in cliches, jokes, TV skits, cartoons and more than 30 other films. The film is in awe of its material." Since Nosferatu was produced, numerous films have followed in its wake, including remakes by another German filmmaker, Werner Herzog. Art films, like other art media, inspire imitation and homage.
Moreover, art becomes firmly situated and reflective of its cultural and
Several historians have pointed out the sinister and eerie ways the imagery and character of Nosferatu "foreshadows Nazi tyranny," given the precarious condition of being undead, both alive and dead (Vacche 162). Nosferatu "combines love and tyranny; he is both helpless and terrifying, striving for harmony...while bringing destruction to everyone who comes into contact with him," (Vacche 162). Murnau's Nosferatu also exemplifies the era known to art historians as German Expressionism, which used film as one of many other media. German expressionism capitalized on abstraction and surrealism without being either one, as expressionism self-consciously comments on the modern world with dark and stark realism too. The liminal position of the character of Nosferatu the undead reflects the filmmaker's own philosophy, his "ambivalent position between cinema as art and cinema as technology," as Vacche puts it (162).
One of the most notable features of Nosferatu is its mis-en-scene and cinematography. It is a dark film filled with chiaroscuro. The most famous scenes of the movie are those of the title character's shadow creeping along the walls of the gloomy castle, death constantly a fixture in the air. The supernatural is also a key element of Nosferatu, linking it to its overarching genre of Romanticism as well as German Expressionism. The Romantic era of painting was characterized by its moodiness and also its fascination with both the supernatural and the darkest sides of human nature. The visual elements in Murnau's Nosferatu hearken directly to Romantic painting and reflect the filmmaker's own art-historical training," (Vacche 162). Like Germany in its first period of unification, the Romantic era was something that was longed for after the First World War, and yet something that was also forever lost. Unable to accept its death, it clung to a mirage of life, an evil living dead form that encapsulated the German cultural zeitgeist at the early 20th century. The film also emerged in an era of avant-garde art, and can be considered a hallmark of the "internationally-minded avant-garde," (Vacche 162).
What distinguishes Nosferatu from all other vampire films save only for Werner Herzog's reinterpretation is the abstract expressionist cinematography and the correspondingly…
Body Language Nonverbal signs comprise the bulk of human communication: 93% according to the film Secrets of Body Language. This film shows how nonverbal communication speaks volumes more than words ever can. The way a person walks, shakes hands, uses eyes, or involuntarily twitches all provide valuable context to the verbal content of what someone is saying. It is impossible to watch Secrets of Body Language and not become concerned about self-presentation.
The film shows that human beings unlike the robots were way too dependent on habits and routines that make people unfocused causing people to not be able to make their own decisions (Barnes). Later on, when Wall-E ends up by accident bumps into one of the women, she understands that her attires have transformed into a different color and that she lastly opens her eyes and observes everything from
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film Sarah and James by Nikowa Namate offers an opportunity to reflect on the deeper themes in light of several film theories including Freudian theory, Queer theory, and an understanding of realism, naturalism, and kitchen sink drama. This essay will offer a nuanced and thorough analysis of my role in the filmmaking experience. In Sarah and James, I played the role of James, one of the title characters. As
The spectator is unwittingly sutured into a colonialist perspective. But such techniques are not inevitably colonialist in their operation. One of the innovations of Pontocorvo's Battle of Algiers is to invert the imagery of encirclement and exploit the identificatory mechanisms of cinema in behalf of the colonized rather than the colonizer (Noble, 1977). It is from within the casbah that we see and hear the French troops and helicopters. This
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