Mise en Scene in Nosferatu Essay

F.W. Murnaus Nosferatu is a incorrupt visual tale of Bram Stokers Dracula. The silent delineation is filled with obsession and lust, surrealism as rise up as the prosaic opus of good versus criminal. The carry recounts the tale of Hutter, a real estate promoter hungry for m atomic number 53y, and his journey to vampire Count Orlaks mansion, as tumesce as the twists and turns found heavily within the scenes. Nosferatu (Count Orlaks alter ego) locomote for Hutters wife and moves in to the residence next door to the couple, where a series of events occur that would ultimately lead to the fanged beasts demise.Mis en scene is a pivotal element finishedout the film, in particular for expressionist director Murnau, whose natural take on frightening the listening with the use of lighting, camera angles and framing supersedes that of directors who emphasize the huge props or costumes. The directors excessive use of shadows is a tool use in order to make the events happening end-to -end the film stick more realistic, as well as typifies the evil located in the character of Nosferatu. Cast shadows brook be elaten throughout the film and altogether is due to the lighting Murnau chose to give.For example, in among the last scenes of the pic, we see Ellen lying in bed with Nosferatus shadow casting above her. This take on camera angle and lighting is especially important as it sums up one of the main motifs, lust. Ellen does not struggle under the dominance of the Count, nor does she terror for her life, rather on the contrary she is offering herself to him and she likes it. This erotic interpretation can be splintered down to the way the director played with the riding horse. Ellens system is clearly brighter than her surroundings, which also reinforces the eroticism of her movements.Also, Nosferatus shadow is bigger than it is in any new(prenominal) scene, which endures the hearing to feel that at that moment evil is the strongest, and the most powerf ul. Setting is a precise crucial and profound theatrical post in the cinema, even more important than actors at times. Nature plays the role of symbolizing all that we cannot see through the characters actions and through the plots words and scripting. Here, nature expresses the hardships and obstacles that reflect upon the emotions of Hutter, Ellen and Nosferatu. During Hutters first journey, it is calm and beautiful. However, during his make a motion back home, it becomes chaotic and disturbing.The instances when the natureprevents Hutter from moving further arguably depart to show the paranormal side nature is supporting, for example, the river is filled with rocks, which makes it difficult for him to get through the trees seem very chaotic, the wind is always coming towards him. The scene where Ellen is by the seashore, the sea seems wild and angry. The security guard also knows that it will bring Nosferatu to her too. The environment is helpful and when Nosferatu is a round. The sea always seems calm while he is sailing the ship. Other scenes, where elements of nature such as creatures and plants are shown as ghosts or blood-suckers expose the alliance between the vampire and the elements of the Earth.This shows not only the power Nosferatu harbors within him, but that nature is well and truly an obstructer in this depiction of a vampires tale. Probably one of the biggest and most important quotes in the movie has been dropped near the beginning, as Hutter runs to his workplace and is stopped by the professor exclaiming Wait, young man. You cant escape your peck by running away This line allowed the audience to begin thinking and to start connecting the limited amount of dots that have been attached to us so early in the movie. We know that Nosferatu exists, and that something bad is button to happen to the protagonist, or the character the audience most identifies with.Such a saying would infer that no matter what Hutter did, destiny has al ready written his actions and what is yet to come. The mis en scene parallels the saying in a very subtle way as during the scenes in which Hutter is on his journey to the count, he always seems to be entering the picture, rather than the camera following him. This shows that no matter where he went, it was always predestined for him. Another tell was the time that kept appearing, not only to give the viewer an idea of the setting but also to show that time is running out and destiny is knocking at the door. Alternatively, a redundant word that was used throughout the film was Hurry which gave away two aspects in the film.The first that no matter how much you hurry, destiny will always be on the corner, and second it pin elevations at Hutters hyper actions and the way he is always in a rush. This can also be boiled down to the redaction that slightly speeded up the movie in order to give an supernatural vibe to the already paranormal state of the world the characters live in. The films camera angles also capture the audiences attention without them even knowing. throughout the movie, Murnaus choiceof camera angles had not only connected the viewer with the characters, but also connected the characters to one another.In many of the scenes where Hutter encounters the big(p) Nosferatu, the camera angle shows the events occurring in the scene from the protagonists point of view, that way the audiences become one with the character, allowing them to see exactly as he does, thus realistically flowing the fear through them and connecting them with him. In other acts, Ellen would be at the seashore awaiting her beloved (but who?) and she would be pointing to the horizon, at the very same moment camera cuts to the ship Nosferatu is sailing and we can see the bow of the ship is pointing towards Ellen.This technique found in movies sanctions the spectators to see the base influences the characters have on each other, no matter where they may be.The movies total ambi ance and mis en scene are immensely superior to that of the plot and acting, to such a level as to allow the cinema world to dissect the film piece by and playing field from the inspiring and largely accredited director Murnau, whose expressionist views and interpretations made the untainted A Symphony of Horrors is today. With mis en scene and camera angles, as well as lighting and setting, Murnau combined so delicately as to master this work of art that shall be studied for years to come.