Fig. 1 Nosferatu climbs the staircase The shadow of an elongated figure looms on the wall, and with agonising slowness, mounts the staircase to where his helpless victim lies waiting. This image (see Fig. 1) has been called “the most sinister use of shade in all Weimar cinema, a field crowded with strong competitors” (Jackson,91). Nosferatu, A Symphony of Horror, was made in 1922 at the height of German Expressionism, and while not a pure example of Expressionist film the way The Cabinet of Dr. Caligari is, it still distorts reality to convey the inner experience of its subjects. Nosferatu takes place in a nightmarish world which seems to come from the deep-rooted psyche of the German mind between the two world wars. Nosferatu is unmistakably …show more content…
Expressionist actors made no attempt at realistic performances, instead used exaggerated body movements to illustrate extreme emotional states. Shreck uses furtive, jerky gestures and this combined with his rodent like appearance (see Fig. 2), warns the audience that he is subhuman. Numerous accusations of antisemitism have been levelled against the film, for not only Nosferatu’s appearance but also his association with rats. These accusations are understandable in light of the fact that the film emerged at a time when anti semitism was rife in Germany. Orlok is the mysterious Other, moving from the East to the West, bringing disease and death in the pursuit of the blood of an innocent Christian woman. This is at a time when the mass migration of Eastern Jews to Germany, led them to be used as scapegoats by the rightwing press for the disastrous defeat in World War 1. They were described by papers such as Der Sturmer as the parasite that infects the Volkisch movement’s ideal of the purity of the German people. At one point Nosferatu exclaims ‘Your precious blood’, when Hutter cuts his hand, bringing to mind the old accusation of Blood Libel (that Jews ritually sacrifice Christians for blood for …show more content…
W Murnau, an openly gay, leftist intellectual and screenwriter Henrik Galeen, a Galician Jew, set out to make Nosferatu an anti semitic film. Lotte Eisner makes no mention of antisemitism in The Haunted Screen, while Siegfried Kracauer likens Orlok to the type of tyrant that brings chaos that the German people were drawn to at the time i.e Hitler (both authors are Jewish incidentally). That is not to say that Murnau and Galeen were unaware of the anti semitism in Dracula, as Nosferatu’s appearance is largely faithful to Stoker’s description. What seems more plausible is that Nosferatu is an exploration of the effects of war on Germany. After World War 1, Germany was devastated, millions were dead and wounded and Germans had to cope with paying back enormous reparations which crippled the economy. Anton Shell Kaes points out that Hutter, a naive young man is ordered East just like the 1914 generation, and when he returns he is deeply traumatised, while his wife Ellen, who embodies the homefront, lives in fear. Hutter finds Orlok sleeping in his dirt filled coffin with his eyes creepily open (see Fig. 3), reminiscent of the war trenches where soldiers lived alongside their fallen comrades. The rats that infested the trenches and fed on the dead are the same rats that follow Orlok on the ship. While Dracula portrays the conflict between the disturbing otherness from the East and decent Victorian values, Nosferatu is the
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The Abolitionists Growing up as a Christian I never could understand how people claimed to be saved or god’s servant but yet can discriminate against skin color. I was taught God is of love regardless of skin color, size or how the person looks. Such as Caucasians with African Americans and even so how could they attend church but yet have slave servants in their home? As shown in the documentary most of the film was a conflict about slavery and the few whites that was against it. Such as “Angelina Grimké” a Caucasians female Christian who despised slavery and watch her parents live with it with no moral or self-respected.
Fighting Against Hate & Intolerance in the Holocaust It is a widely known fact that eleven million people were brutally murdered in the Holocaust. Many people argue that the roots of these killings were hate and intolerance. During World War II, innumerable people were victims of Adolf Hitler’s widespread beliefs that the Aryan race was better than others. Unfortunately, they had to endure this prejudice for a very long time, but many heroes fought against these unfair views. The characters of The Book Thief, Eva’s Story, Paper Clips, and The Whispering Town all show amazing courage and cleverness when fighting against the hate and intolerance the Jews and other persecuted people endured.
His novel, Dracula, tells the tale of five people who encounter and have to deal with the evil undead vampire Count Dracula, who terrorizes them and even causes two out of the five to become undead like himself. Thankfully, the group eventually discovers a way to eventually vanquish Dracula once and for all, and by the end of the book they destroy him, preventing him from terrorizing the people of Europe once and for all. Stoker explores several significant themes in this book, including the theme of deception. In Dracula, Stoker uses the theme of deception with the characterization of Dracula,
Many Germans, during WWII had started to take on the ideology of Hitler – that Jewish citizens in Germany were the cause of their poverty and misfortune. Of course, many knew that this was merely a form of scapegoating, and although they disagreed with the majority of Germany’s citizens, many would not speak up for fear of isolation (Boone,
O Brother Where Art Thou? is a film that will take you on a perilous journey with Ulysses Everett McGill and his simpleminded cohorts. This film may be set amidst the early 1930’s Great Depression era, but it still has a Homer’s Odyssey feel to it. Down in the dusty and highly racial south, Everett recruits a couple of dimwitted convicts, Pete Hogwallop and Delmar O’Donnell, to help him retrieve his lost treasure and make it back home before his wife marries another suitor.
Families being torn apart, being ripped from everything they’ve known growing up and being isolated within a camp where no one truly knows what’s happening to them. That’s what was going on in the life of the Jews during WWII, they were being treated as if they were no longer human, being tossed in concentration camps and given just a number to identify them, completely taking away their self importance. The atrocities that occurred during the Holocaust are being subtly portrayed in the movie “The Boy in the Striped Pyjamas,”directed by Mark Herman, a story told from the eyes of an eight year old boy named Bruno and his unlikely friendship with a Jewish boy named Shmuel. The movie tells the story of how a young boy begins to realize what kind of solder his father truly is and what is going on during WWII as his parents had kept him enclosed in this idea that all is well in the world. Through the use of imagery, colors, and pathos Mark Herman successfully portrays the horrors of the Holocaust through the innocent and peculiar friendship of two nine year old boys, Bruno and Shmuel.
Many lives were lost during the German’s attempt to wipe out all Jews, and those who lived lost a part of their life during this time. The young boys lost their childhood and ‘innocences’. They witness more death and suffering than anywhere in the country. Today, there is still death and violence against others.
Late in the novel, when Dracula escapes from Van Helsing and company at his Piccadilly house, the count declares, “My revenge is just begun!” It is not immediately clear for what offense Dracula must obtain revenge, but the most convincing answer comes in the opening chapters, when Dracula relates the proud but disappointing history of his family. In Chapter III, he speaks of the “brave races who fought as the lion fights, for lordship.” The count notes the power his people once held, but laments the fact that the “warlike days are over.”
The movie “Sleepers” is about four young boys between the ages 13-14 who commit a serious crime by accident. In this paper I will argue why the boys should be dealt with under the Restorative Justice System, and not under the Retributive Justice System. I will also talk about how they would be dealt with under the Youth Criminal Justice Act (YCJA). The four boys are clearly very upset with themselves because they let what they thought would be just a fun prank turn into a violent crime.
As part of the fascist conquest to create an ideal race during the World War II, Jewish people struggled to survive by evading their Nazi hunters and persecution. In Art Spielberg’s Maus he depicts his dad’s, Vladek, Holocaust experience through comics as his dad informs him of his WWII experience. In the novel Jewish people are drawn as mice and German’s cats to show how there is a constant conflict of pursuit, near captures, and repeated escapes. Vladek and other Jew are forced to hide, evade, and trick the Nazi soldiers in a similar fashion to the game to survive the persecution of his people.
The count’s story is a parallel of actual immigration occurring at the time the story was written. Dracula was from Eastern Europe specifically Transylvania, which is a historical region in modern day Romania. The people of Transylvania did not like Dracula, many of them feared him. People did not take the massive amounts of Jewish people coming into their country very
At first glance, the novel Dracula by Bram Stoker appears to be a typical gothic horror novel set in the late 1890s that gives readers an exciting look into the fight between good and evil. Upon closer inspection, it becomes apparent that Dracula is a statement piece about gender roles and expectations for men and women during the Victorian age. Looking at the personalities, actions, and character development of each of the characters in Dracula bring to light startling revelations about Victorian society and how Stoker viewed the roles of men and women during this time period. To really understand Dracula, it is important to note that this novel was written during a time “of political and social upheaval, with anxieties not just about the
A battle between good and evil is a common plot to Dracula. The forces of evil, Count Dracula and other vampires (the un-dead), try to take over Britain. The novel heroes Dr. Van Helsing, Dr. John Seward, Johnathan Haker, Quincy Morris, and Arthur Holmwood are the first responders for this evil invasion of the British Empire. In the novel the characters Dracula and Van Helsing play a major role for being the leaders of their respective groups, therefore they controlled the actions of their groups. Dracula’s actions in the novel have the purpose to flourish the rise of the un-dead, while Van Helsing’s actions aim to preserve and protect the human race.
In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
A good answer is given by Carol A. Senf in his book The Vampire in the 19th Century English Literature where he notes that such beliefs go far beyond the place itself, and that “the vampire was simply one more example of a mysterious subject that appealed” (1988: 21) by virtue of its Orientalism. As he explains it Dracula symbolized an idea of the sensational that attracted the reader, and not the essence of Transylvania or its historical richness. Nevertheless, fundamental in Dracula are the constant journeys that the characters undertake: across Europe, in between cities, across provinces or from America. All these journeys have a fundamental aspect in common: they all start from or finish in the capital city of the largest empire of the world in the nineteenth century: London. This city represents one of the key locations that the author uses for the development of the plot because of the importance it had at that moment.