When analyzing Nosferatu and Freaks you have to think of this movie from the ground up. One main difference is that one of the films was made while the film is still and without dialogue whereas the other has the luxury of sound and movement. The modification hints to a bigger amount of more detailed comparisons that deserve discussion. While making a silent movie, the director has to trust the sight and lighting, which amplifies the need for a certain amount of wording on the screen to guide the audience towards his future expressive, and logical reaction. Due to the nature of this film, the director isn’t able to go fully into details about the character build-up with the same tools, as is the director of Freaks, a non-silent film. In Nosferatu, this ends with a very small amount of characters that have complexity whatsoever. Whereas in Freaks we are able to get the full …show more content…
Browning pushes the idea that “freaks may look different on the outside, but they are people too just like everyone else.” With their demeanor working as a traveling circus helps alleviate the theme of the movie. Having these “freaks” ranging from a bearded lady, Siamese twins, and the microcephalic helps us set the stage for the time and place that the film in, it show us qualities through stylization and determines the characters. Before the movie gets into the beefy parts we are introduced to certain characters allowing us to make quick conclusions about the way they are dressed, talk, and look. When we first meet Cleopatra she is shown in a long shot as a tall thin woman who drops something and stands there waiting for Hans to put it back on her; we immediately get the thoughts of “oh I am better than you,” because she knowingly stands there where he cant reach her because of the height difference. With the long shots in this film it better allows us to see the whole picture making sure we aren’t focused on one particular
...dience long after the film reels have stopped turning. The idea of a “scary movie” could be innocuous enough, if it is simply frights and ghoulish images, but Nosferatu raised the bar and discovered how to delve into a collective mindset and produce a truly unsettling product. Germany’s residual shame and concern regarding World War I made Nosferatu a gripping, telling exploration of a nation’s psyche.
Nosferatu a Symphony of Horror and Sunrise: A song of two humans, are silent films directed by F.W. Murnau made in the 1920's. Sunrise tells the story of two young lovers that rekindle their romance, and Nosferatu is a horror adaptation of Bram Stoker’s, Dracula. While they differ in genre, both are similar in that they consist of a young couple that encounter a threatening situation. The element of space becomes an interesting aspect relevant to both films as it is used to foresee the events of what is to come in the plot. In Noseferatu, enclosed spaces evoke the feelings of uneasiness and no escape. In Sunrise, it is the open space that provides hope for the romance of the couple. The surroundings in the given space relate to the character's internal selves and their futures. In Noseferatu, Orlok who symbolizes death, materializes from empty spaces visualizing the nature of death to follow. In Sunrise, the couple's constant complexity of emotions resembles the chaotic places they must encounter in order to fall back together. The plot in both films revolves around a particular evil whose power eventually weakens. Orlok's presence proves to be stronger and more intimidating through distance, whereas the woman from the city is most influential when she is in close and physical proximity. These
is David, the leader of the group of Vampires, but is in fact Max, who
into strange trances. Jonathon escapes from the castle but is not free of Draculas power,
In this essay I am going to compare and discuss the ways in which the
As appearances play an important role in society, so they also play an important role in William Shakespeare's play Titus Andronicus. From the first scene to the last, Shakespeare elaborates on the theme of appearance versus reality through plot and character. The play’s plot is full of incidents and events that are not what they appear to be: from Titus' “mental breakdown” and Tamora's extended deceitfulness, to Aaron's declared deeds. Each case presents a contrast between what the senses perceive and what reality presents. Some characters are defined better by their actions than their speech.
Here there could be no mistaking the predominance of personality—the unanimous "Oh!" of the spectators was a tribute, not to the brush-work of Reynolds 's "Mrs. Lloyd" but to the flesh and blood loveliness of Lily Bart. She had shown her artistic intelligence in selecting a type so like her own that she could embody the person represented without ceasing to be herself. It was as though she had stepped, not out of, but into, Reynolds 's canvas, banishing the phantom of his dead beauty by the beams of her living grace. The impulse to show herself in a splendid setting—she had thought for a moment of representing Tiepolo 's Cleopatra—had yielded to the truer instinct of trusting to her unassisted beauty, and she had purposely chosen a picture
But not only is the film so similar in darkness, the scenes are short, reflecting the shortness of the panels. Unlike a more “normal” movie, the scenes change quite frequently and not only by perspective. The movie is constantly changing both viewpoint and scenes. Although this is common in action movies, it is used more widely in this film unlike in action movies that tend to use this form of filmography during very high tension scenes.
The costumes worn are in keeping with the period in which the film is set (1930’s), and the female lead appears to be wearing a nightdress, which emphasises her status as a ‘damsel in distress.’ In contrast, the Mummy is dressed in keeping with the Westerner’s stereotypical image of Egypt – rags, medallions and talismans; the difference in costume between the Mummy and his sidekick and the foreigners greatens the differences between the two parties. The main focus of this extract is the special effects and spectacular location, and all the devices employed here add to these, rather than detract or distract from them. The film also appears rather ‘tongue-in-cheek’, perfectly aware that is playing to both genre conventions and conventional views of the foreign ‘other.’
to Bram Stokers story as myself to a chimp. If it was named 'Parody Of
Throughout Shakespeare’s Antony and Cleopatra, readers are constantly thrown in the middle of a battle between Roman and Egyptian values. Antony, a noble warrior for the Romans, is the character that seems to have the most trouble between this dichotomy. He is constantly caught between reason (Rome) and passion (Egypt) and has a difficult time making the transitions. Cleopatra is the character that stays most true to her roots, but begins adopting the other side’s values toward the end of the story. She makes a smoother transition than Antony, which can be attributed to her self-confidence and open-minded spirit. Antony is a constant source of back-and-forth commotion while Cleopatra seems to posses Egyptian qualities until the end of the book when the reader’s eyes are opened to her new, Roman ways.
Dracula, the 1931 film directed by Tod Browning is loosely based upon the novel of the same name. Therefore both share similar characteristics but are distinct. The differences between the novel and film occur due to the cinematic choices made as well as the fact that the film is based off of not only the novel Dracula but also the 1924 play Dracula. One major decision made by Browning was to alter the role of Johnathan Harker. In the novel Johnathan is the solicitor who meets with Dracula in Transylvania and narrowly escapes the “veritable prison” and is a changed man due to his experiences there (25). On the other hand, in the film Johnathan never visits Transylvania. Renfield is the one who does so instead. That provides Renfield with a
Freaks is a struggle between separate institutional ideals for power. The two bodies from the “freaks” (Cleopatra) and the “normal” (Hans) people are representative devices. Cleopatra and Hans allow the other access to themselves through their romantic endeavors. Cleopatra seeks fortune from Hans, upon whom she attempts to poison. She disrespects Hans, seeing only him only for his money without considering his emotions as she would a “normal” person. As Cleopatra’s body is morphed into a bird and Hans does not die from her poison, she is outwitted: she experiences the loss of her agency, while Hans only loses some pride.
Dracula, the most famous vampire of all time, which readers were first introduced to by Irish author Bram Stoker in 1897 with his novel Dracula, which tells the story of the mysterious person named Count Dracula (Stoker). The book is an outstanding masterpiece of work, which is why it has been a prototype for various movie releases over the decades. Whenever a film director decides to make a movie on behalf of a novel the hope is that the characters concur from the novel to the movie, which leads to the exploration of the resemblances and modifications between the characters in Dracula the novel by Bram Stoker and Bram Stoker’s Dracula 1992 movie directed by Francis Ford Coppola.
That was the past, here and now in the present, we go to the Cinema, which is full of special effects, computerised graphics, and exciting camera shots, which all goes towards creating a typical Hollywood blockbuster film. With ‘Antony and Cleopatra this is not necessary as it is still more effective on the stage than on screen, which is due to the elaborate language used, which tests our imagination.