Nosferatu+analysis

=**Nosferatu Analysis**= [| Mise-en-scene]: The influence of expressionism on the film makes this silent film one of the creepiest of the genre. The opening scenes of Bremen provide a sense of normality. The exteriors were shot on location rather than in a studio so the sense of reality is present. Orlok's castle and other venues are dark and [|off kilter] to provide a visual sense of the unnatural and inhuman. The vampire [|"familiars"] - the rats are everywhere - in Bremen after Orlok's arrival, in the castle and on the ship that carries Orlok to Bremen. The film is set about 80 years in the past ( 1842 ) so that it is a nineteenth century period piece. Murnau doesn't use a lot of camera movement. That used is disturbing as these examples show: The low angle shot of Orlok before the mast of the ship. Orlok's emergence from the hold of the ship. The close ups of the count in his coffin The close ups of the rats .
 * Camera work**:

Murnau uses [|"thematic montage"] or cross-cutting to convey menace as Orlok advances on Hutter in his castle to Ellen waking in Bremen suggesting a connection between Ellen & Hutter as Ellen continuously worries about and protects him from afar. The use of [|stop-motion] (pixillation) for the carriage ride to give the impression of demonic speed. Using the positive of a negative as Hutter enters Orlok's world gives the impression of an eerie nightmarish environment. [|Superimposition] as Orlok fades and disappears as dawn breaks in Ellen's bedroom.
 * Editing and special effects:**

[|Low key lighting] is used except when Hutter rides through the German countryside on his way to Orlok's castle which conveys innocence and beauty which will disappear in Orlok's world. Theorising on Nosferatu. Discussion.
 * Lighting:**