Confronting Reality: How Nosferatu Exemplifies Film Horror Tactics Essa

Many films, and some times film genres, atomic number 18 dismissed as being part of the cinema of escapism. This assumes that in times of particular social or economic hardship (often on a field of study or inter areaal level), people go to icons for the sole consumption of getting away from it totally. While some films may follow this boilers suit trend, it is important to note that it cannot be a generalization made for all films. During the Weimar era in Germany, the nation was in the midst of a national struggle on many fronts. As a people, Germans attempted to serve with their past (the problems during World war I as well as the consequences of their loss) and move toward the future (finding a solution for their economic struggles and defining themselves culturally and socially). This period saw a resurgence of the horror genre, this time sufficient to the new medium of film. However, the way horror was portrayed via film is the enkindle part it drew specifically on the struggles of the nation to instill horror. This is an assume reversal of the idea of cinematic escapism, since many Weimar era horror films apply relatable struggles in order to both entertain and terrify (in this case, existing at the same time as well as dependently on each other). One of the clearest examples of this is by the film Nosferatu, a cinematic retelling of Bram Stokers novel genus Dracula directed by F.W. Murnau. The budding horror genre of the Weimar era, as exemplified by Nosferatu, succeeded because it drew parallels to the German peoples collective post-World War I mindset, including references to the terrible nature of the war itself and the fearful prospect of how to move forward. Nosferatu employs mixed plot points and imagery to elicit an emotional response ... ...dience long subsequently 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 break off and discovered how to delve into a collective mindset and produce a truly unsettling product. Germanys residual shame and concern regarding World War I made Nosferatu a gripping, telling exploration of a nations psyche. Works CitedBodek, Richard. The Not-So-Golden Twenties everyday Life and Communist Agitprop in Weimar-Era Berlin. Journal of Social History. Vol. 30, No. 1. Autumn 1996. Calhoon, Kenneth S. Horror vacui. Peripheral Visions The unnoticeable Stages of Weimar Cinema. Wayne State University hale Detroit, 2001. Kracauer, Siegfried. From Caligari to Hitler A Psychological History of the German Film. Princeton University Press Princeton and Oxford, 2004.