Class opened and attendance was recorded

Class opened and attendance was recorded.

Remarks were made about the requirements and difficulty of making a movie instead of writing a research paper and taking the final exam.

Jeepers Creepers was recommended as a worthwhile leisure film.

The writing assignments for the semester were discussed and clarified as follows:

1 Free-write pertaining to a pre-1945 film

1 Free-write pertaining to a post-1945 film

1 Short essay

1 8-page research paper

All writing assignments should clearly state the subject/topic/movie being discussed.

The questions from the film, Nosferatu, were discussed during this class period.

Four groups of four were formed and each group was assigned a question. All groups were to discuss question #5. A copy of these questions appears at the end of the minutes.

The groups discussed the assigned questions and then reported their findings to the entire class. The findings reported to the class included (but were not limited to) the following:

1. Using the following instruments of film in various ways enhanced the evil of the vampire.

Camera: Lack of movement in important scenes conveys a sense of hopelessness for the victims. As the vampire approaches, the camera shot is fixed on the vampire. This conjures a feeling of being cornered or with one’s back against the wall with nowhere to go. Camera placement is also important in many of the scenes in which the vampire is closing in on his prey. By placing the camera lower than the characters (especially the vampire). This causes the vampire to tower over the scene (in complete control) while adding even more desperation to the victim due to the vampire’s overwhelming presence. Distance from the camera also enhances the vampire’s evil. This is capitalized upon in several ways. When Thomas sees the figure of the Count for the first time, it is at a distance. This distance when used in conjunction with the contrast of the dark figure against the lighter background (though it is understood to be night) adds a sinister tone to the figure. Later, when the vampire is seen at a distance hiding in the shadows (partially obscured by darkness), you can see the vampire, but you can’t quite make out all the hideous features…but you know they’re there (or should be) and your imagination takes over and anticipation builds. Finally the distance from the camera is used to show relative size. When the vampire is further from the camera he tends to appear smaller than when he is up close. When he is close, he tends to take up most of the frame. It is at this point that his size and disproportionate features are unavoidable. He’s close, big, hideous, and you’ve got nowhere to run….you’re in trouble. An additional way that camera (when used in combination with lighting effects) adds to the evil of the vampire is the use of an iris (or circular frame view). This makes darkness seem to engulf the scene.

Lighting: Black and white films are subject to the same restrictions (or liberations, depending on how you look at things) as black and white photography. Contrast is very important. Darkness always follows the vampire. It is like a protective veil that sharply contrasts the lighter elements of the scenes. This is mainly accomplished by the use of backlighting. As far as the use of shadows, they are often used to carry out acts on victims when the effectiveness of distance between the vampire and the camera has been used up. The absence of his actual body (replaced by the shadow) adds to his evil power and presence by his ability to bestow terror with only his shadow. When a shadow can do something…he’s a bad, bad guy.

Positioning of characters within the frame: The position of Nosferatu within a shot lends his character evil in two main ways. When he is in the center of the frame, it is usually a shot in which his size, physical appearance, or overwhelming presence is emphasized. This is usually accomplished by a close-up. When he is not in the middle of the frame, he is often in a position in which he seems as if he were behind the victim (and the viewer for that matter). This is especially true when the shadows are being used. They always seem to be coming from the side of the frame or a corner (as if he was behind you reaching for you unawares).

Editing: The breaks and flashed between various scenes adds to Nosferatu’s evil in two simple ways. Firstly and most apparently, a flash between a scene builds suspense. These scenes are often separated by great distances (hundreds of miles). This adds to his evil presence by his ability to overcome these distances that separate normal people.

2. Misery and the sense that a war had just ended became evident with the repetitive use of scenes. One such scene was that of the abandoned house that the vampire purchased. It looked as if it had been bombed. Nosferatu’s castle was also shown to be run down and in a very advanced state of disrepair. The parade of coffins during the time in which Nosferatu plagued the city also mimicked the period just following a war. It was similar to the returning of bodies of fallen soldiers from a recent battle. Thomas is also embarking on a journey full of great danger – but potentially great rewards. This is also the description of war. Ellen is upset as Thomas leaves – like one would be if they were seeing a loved one march off to battle. The vampire is also representative of the recently experienced war by the presence of an “Eastern Power” bringing foreign soil, influence and death into Germany. The crosses on the beach could also be viewed as a wartime cemetery full of nameless crosses of the fallen.

3. Anti-Semitism can be interpreted in several ways – some of which may be intentional or unintentional. To be aware of this, one must recall the qualities that Jewish people were stereotyped as having. One possible way may be the appearance and personal qualities of the vampire himself. Physical features including large noses, ears, pronounced brows. (Overall disproportioned bodies). The vampire had these qualities. Jews were also said to be dark, sinister and greedy characters that would “come in the night” and rob you blind. The vampire did this as well. This may also be seen (though it could be a stretch) in the length of the vampire’s fingers. They could be said as displaying covetous nature described above. The plagues, coffins and rats could also be interpreted as invaders from the east that following some stereotypes of the time could be personified in the Jewish people.

4. From the very beginning Ellen is portrayed as some pure, ultra-nice wife and woman. She is cast as the protector of all – including flowers given to her by Thomas. Her dress, however, seems to portray her as continuously in mourning – or some doomed character. You could also interpret her destiny by here dark and morbid makeup. Its color is as if she’s already dead and cold. When the text finally divulges how the vampire will meet his demise, you know without a doubt that Ellen is the one who fits the bill.

5. The biggest difference with this film and other, more recent vampire films is the portrayal of the vampire as nothing but a hideous creature that knows only evil to one that’s good-looking, crafty and sensitive (in addition to being hideous and evil). An additional difference is the inconsistent departure from the often-exploited vampire lore of tradition (ie. garlic, holy water, stakes….). Also the vampire in Nosferatu has none of the erotic qualities that films based on Bram Stoker’s novel display.

After the discussion class was dismissed.

Wednesday, September 05, 2001

Questions to Nosferatu: A Symphony of Horror (F. W. Murnau 1920)

1. Describe the way Murnau uses the following elements of cinema to enhance the evil power of the vampire: (1) camera (movement and placement, looking especially at distance from camera); (2) lighting, including shadows; (3) mise-en-scène (the way people and objects are positioned within the frame), and (4) editing (the way scenes are ordered).

2. Nosferatu was released in 1920, less than two years after the end of World War I. At the time Germans were still suffering from effects the war had on their physical and emotional well being. Identify individual scenes that would remind contemporary viewers (those seeing the film in 1920) of the war that had just ended and the misery in which they now found themselves.

3. Some critics have noted an anti-Semitic subtext (secondary meaning buried within an artwork’s story and structure) in the film. What evidence is there to support their argument?

4. How does Murnau prepare us for Ellen’s sacrifice?

5. How does the film differ from other film versions of the vampire legend with which you may be familiar?

Please type your answers for next week’s discussion, Wednesday, September 5. Remember, the answers to film assignments are not accepted late. A missing assignment lowers the class assignment grade by 15 points. I estimate the assignment should take between 45 minutes to an hour, including down time for thinking about the film.