The final influence that German Expressionism did affect during the period of time in the Weimar Republic is mainly through genre and such, mainly in the case of horror as with the example of F.W. other well-known classic from 1922,
Nosferatu.
Nosferatu is a very interesting case as it brings to light a very interesting case in terms of how thee previous themes applied from the past few posts, largely in set pieces and design. What so interesting about Nosferatu alongside other films of the period is the visuals, though with this film it is more tame, but keeps a very eerie-like atmosphere that many films of this period have
1. A large question that this applies is how films such as this can apply such a eerie theme. In the case of
Nosferatu, this can be seen in the main monster, Count Orlok, and his overall design, being large and imposing with a creepy and unsettling face. His movements are also very important, as he moves with a slow unmoving gaze, largely seen from shots such as the famous stair scene (above picture) and him fitting through the door frame.
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| Orlok barely fitting through the door frame. Image Link |
What this paints in terms of the expressionist movements on filmmakers is that it makes a fine line between reality and fiction, and the way these films use it is very important. To help with this, filmmakers would specific lighting and camera shots, mainly for use to create space
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, which is why some of those shots such as the pictures above and below are some of the more well known shots on one of the classic films of this decade. In conclusion, the ways that Nosferatu uses the themes to paint a creepy theme is one of the larger points in how influential German Expressionism was.
1 J.P. Tolette, "German Expressionism", in Traditions in World Cinema. Linda Badley, Palmer, R. Barton, and Schneider, Steven Jay, eds. (Edinburgh: Edinburgh University Press, 2005), 17.↩
2 Rudolf Kurtz, and Brenda Benthien. Expressionism and Film. Ed. Kiening Christian and Beil Ulrich Johannes. Bloomington, IN: Indiana University Press, 2016, 60.↩
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