A Pestilence Grieving and Lasting

Nosferatu — Eine Symphonie des Grauens (1922)

Introduction to Weimar Cinema and Expressionism

The first major stage of the so-called “Weimar Cinema” (1918 - 1933): Expressionism, led Germany out of the social and economic turmoil experienced in the wake of World War I (1914 - 1918).

Many Weimar films addressed the social issues of the time and acted as a form of criticism against the political and social conditions that were leading to further strife.

The movement sought to express the artist’s psychology through the film’s mise-en-scène and lighting while exploring darker, more emotional themes, playing a pivotal role in Germany's cultural and psychological recovery in the post-World War I era:

Cultural Expression and Innovation: Weimar Cinema was marked by remarkable creativity and innovation. Directors like F.W. Murnau, Fritz Lang, and others pioneered new techniques in storytelling, set design, and cinematography. This creativity fostered a sense of cultural pride and progress in a nation struggling with defeat and economic hardship.

Psychological Outlet and Reflection: The films often dealt with themes of angst, despair, and the surreal, reflecting the collective consciousness of a nation traumatized by war and its aftermath. This served as a psychological outlet, offering a way for the public to process their experiences and emotions.

Economic Contribution: The film industry during the Weimar Republic became one of the most vibrant sectors of the economy. It provided jobs, stimulated related industries (like theatre, music, and visual arts), and was a source of tax revenue. The success of Weimar films also garnered international attention, contributing to the export economy.

Social Commentary and Critique: Many Weimar films were critical of the existing social and political order. They often addressed issues like class disparity, corruption, and the rise of extremism. This critical stance fostered public debate and awareness about these issues, contributing to a more engaged and informed society.

Escapism and Entertainment: During times of economic hardship, films offered an affordable form of entertainment and escapism. They provided a temporary respite from the daily struggles, which was essential for maintaining public morale.

International Influence: Weimar Cinema significantly influenced international film movements. The expressionist style, characterized by its symbolic use of lighting, set design, and shadow, had a lasting impact on global cinema, particularly on the Hollywood film noir genre. This international reach helped to restore Germany's cultural standing in the world after the war.

Promotion of Modernity and Liberal Values: The era was known for its liberal attitude and openness to new ideas. Films from this period often explored themes of sexuality, identity, and modernity, challenging traditional norms and promoting a more progressive society.

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F.W. Murnau and His Vision

Considered one of the most influential directors in the history of cinema is Friedrich Wilhelm "F. W." Murnau (1888-1931)—a German film director and a key figure in the German Expressionist movement.

Murnau challenged the ideological influence exerted by those who (fallaciously) believed they were fundamentally superior to the “others” encroaching on their faith-determinant right to Germany’s territories through the expressionist elements of his film Nosferatu — Eine Symphonie des Grauens (1922).

Hutter's (Gustav von Wangenheim) employer, Knock (Alexander Granach), sends him to "the lands of thieves and phantoms" (Nosferatu, 10:45), Transylvania, in order to sell a house in their hometown of Wisborg to Graf Orlok (Max Schreck). Orlok's intention to buy a house in Wisborg symbolizes an impending invasion, not just of Hutter's personal space, but also of the community's "safety."

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Nosferatu: Beyond Graf Orlok

Nosferatu, as a persona, represents more than just the character of Orlok; it embodies the collective fears and societal anxieties of the era, particularly in the context of post-World War I Germany.

Nosferatu, with his grotesque appearance and mysterious origins, personifies these fears. Unlike Orlok, who is a character with motives and a backstory, Nosferatu is the manifestation of a nebulous and pervasive dread.

In a broader sense, Nosferatu can be seen as an allegorical figure representing the Jewish people, who were often unjustly vilified and scapegoated during this period. This allegory is crucial in understanding the film's underlying social commentary.

While Orlok is the character through whom the narrative unfolds, Nosferatu is the concept, the idea of the "other" that infiltrates and disrupts the perceived normalcy of Wisborg. This separation allows for a deeper exploration of themes such as xenophobia and anti-Semitism.

Graf Orlok as the "Other": Graf Orlok, the vampire in the film, is portrayed as an ominous and foreign entity. His eerie, almost inhuman appearance, with exaggerated features and a menacing presence, makes him the embodiment of the unknown and the feared "other."

In the context of post-war Germany, this character can be seen as representing the widespread fear and distrust of outsiders, particularly Jewish people, who were often unjustly viewed as alien and threatening.

Fear of Invasion and Contamination: Orlok's intention to buy a house in the town of Wisborg and bring his native soil (which he needs to survive) can be interpreted as a metaphor for the fear of invasion and contamination by foreign influences.

This reflects the xenophobic attitudes prevalent in Germany at the time, where Jewish people and other minorities were often accused of undermining traditional German values and culture.

Scapegoating and the Spread of Plague: The film depicts Orlok as bringing plague and death to Wisborg, which mirrors the historical scapegoating of Jews.

Throughout history, Jewish communities have often been blamed for societal ills, including being accused of spreading diseases.

This allegorical representation in the film underscores the irrationality and cruelty of such accusations.

Isolation and Alienation: Orlok's isolated castle and his status as an outcast are symbolic of the marginalization and alienation experienced by minorities, including the Jewish community. His solitary existence and the fear he instills in others mirror the social isolation and stigmatization faced by these groups.

Use of Expressionist Style: The expressionist style of the film, with its use of shadows, distorted perspectives, and unsettling imagery, further enhances the themes of fear and otherness.

This visual style creates a sense of disorientation and unease in the viewer, symbolizing the societal disquiet and the distortion of reality that can accompany xenophobic and anti-Semitic sentiments.

Historical Context: While the film is a work of fiction, its creation during a period of significant anti-Semitic sentiment in Germany lends it a deeper, more sinister meaning.

The film reflects the zeitgeist of a nation struggling with defeat, economic hardship, and a rise in nationalist and xenophobic ideologies.

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Cinematic Techniques Highlighting the Duality

Murnau's use of shadows, lighting, and framing further distinguishes Nosferatu from Orlok. In many scenes, Nosferatu is seen as a shadow or a silhouette, an almost ethereal presence that is separate from the physical character of Orlok.

This visual distinction underscores the idea that Nosferatu is more than just Orlok; he is a symbolic figure, a representation of the collective fears and prejudices of society.

Expressionist Visual Style: The film is a hallmark of German Expressionism, known for its use of stark contrasts, exaggerated shapes, and distorted forms. This style is instrumental in creating a sense of unease and otherness.

The distorted and exaggerated settings mirror the distorted perceptions and irrational fears prevalent in society.

Use of Shadows and Lighting: Again, Murnau makes extensive use of shadows and high-contrast lighting.

The shadows, especially those cast by Graf Orlok, are menacing and often appear to have a life of their own.

This not only creates a sense of foreboding but also symbolizes the lurking, unseen fears and prejudices in society.

The shadows can be interpreted as a metaphor for the obscured, irrational fears and hidden prejudices against the "other."

Camera Angles and Framing: Murnau uses unsettling camera angles and framing to create a sense of disorientation and unease. Low angles make Orlok appear more daunting and menacing, reinforcing his role as the feared outsider.

These techniques help to place the audience in a position of vulnerability, mimicking the societal fear of invasion and corruption by foreign elements.

Setting and Mise-en-Scène: The settings in the film are carefully crafted to enhance the feeling of alienation and dread.

Orlok’s castle, isolated and foreboding, stands as a symbol of the unknown and the feared foreign entity. The stark, desolate landscapes contribute to the atmosphere of fear and otherness.

Silent Film Era Constraints: Being a silent film, it relies heavily on visual storytelling. Murnau’s use of intertitles, along with the actors’ expressive body language and facial expressions, conveys emotions and themes effectively in the absence of spoken dialogue.

This adds to the film's eerie atmosphere and emphasizes the non-verbal, almost primal nature of fear and prejudice.

Pacing and Editing: The pacing of the film, with its slow build-up to the appearance of Orlok, creates a growing sense of dread.

The editing, especially in the scenes showing the journey of Orlok to Wisborg, heightens the tension and the impending sense of doom.

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The Impact on the Audience's Perception

By creating this distinction, Murnau invites the audience to reflect not just on the character of Orlok but on the broader implications of what Nosferatu represents. The audience is compelled to confront their own prejudices and fears, as Nosferatu becomes a mirror reflecting societal attitudes and anxieties.

Personification of Fear: Nosferatu, with his unsettling appearance and mysterious powers, personifies the abstract concept of fear.

He represents the unknown, the alien, and the misunderstood. As the audience watches his ominous presence in the film, they are faced with their own innate fears of the unknown, which often underlie prejudices and xenophobia.

Mirror to Societal Anxieties: The film, set in a post-World War I context, reflects the societal anxieties of the time, particularly fears surrounding outsiders and the spread of disease.

By drawing parallels between these historical anxieties and the narrative of Nosferatu, the film forces viewers to reflect on how irrational fears and societal hysteria can lead to scapegoating and discrimination.

Invoking Empathy: By portraying Nosferatu as a lonely, tragic figure, especially towards the end of the film, Murnau invokes a sense of empathy in the audience.

This challenges the viewer to reconsider their initial fear and revulsion, reflecting on how easily fear can turn into unwarranted hatred or prejudice.

Exposing the True Villains: The film subtly suggests that the true horror may not lie with Nosferatu, but within the society that fears him. This is evident in how the townspeople react to the plague and the scapegoating that ensues.

It prompts the audience to question who the real monsters are—the feared outsider or those who react with hysteria and hatred.

Historical Context and Relevance: Knowing the historical context of the film, particularly the rising tide of anti-Semitism and xenophobia in Germany, adds a layer of relevance for the audience.

It encourages viewers to draw parallels between the film's narrative and the real-world consequences of unchecked fear and prejudice.

Engagement with Contemporary Issues: Although the film is a product of its time, the themes it explores are universal and timeless.

Audiences, regardless of the era, can find contemporary relevance in its depiction of fear and othering, prompting them to reflect on their attitudes towards current societal issues.

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F.W. Murnau's Nosferatu — Eine Symphonie des Grauens (1922) stands as a monumental work in the realm of cinema, transcending the boundaries of its era to deliver a timeless message on the nature of fear, otherness, and societal prejudice.

Rooted in the innovative spirit of Weimar Cinema and Expressionism, the film not only reflects the artistic and psychological zeitgeist of post-World War I Germany but also serves as a profound social commentary on the pervasive fears and prejudices of its time.

Murnau, through his visionary direction, employs a range of expressionist techniques that transform the film into a vivid representation of the collective anxieties of society.

The character of Graf Orlok, and more significantly, the persona of Nosferatu, become powerful allegories for the mistrust and vilification of the "other"—themes that resonated deeply in a country grappling with defeat, economic struggle, and a rise in nationalist sentiments.

By juxtaposing the eerie and otherworldly presence of Nosferatu with the stark realities of societal hysteria and scapegoating, Murnau challenges the audience to confront their fears and prejudices.

The film acts as a mirror, reflecting not only the historical context of anti-Semitism and xenophobia in Germany but also offering a timeless reflection on the dangers of irrational fear and social stigmatization.

Nosferatu is more than a horror story; it is a poignant critique of societal attitudes, urging a deeper understanding and empathy towards the marginalized and misunderstood.

As much as it is a product of its time, the film remains relevant today, speaking to contemporary audiences about the enduring nature of fear and prejudice and the importance of confronting these shadows with reason and compassion.

In conclusion, Nosferatu — Eine Symphonie des Grauens is a testament to the power of cinema as a medium for social reflection and change. It encapsulates the essence of Weimar Cinema’s contribution to cultural expression, psychological exploration, and social critique, firmly establishing itself as an enduring classic in the annals of cinematic history.