Dracula Meets the "Zeitgeist": "Nosferatu" (1922) as Film Adaptation

Murnau may have, as a director of considerable merit, a personal vision that permeates his oeuvre,1 but the particular configuration of Nosferatu-especially the absent Van Helsing and the new endingcan be construed as owing much to the structure of social-psychological variables operative in Germany...

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Veröffentlicht in:Literature film quarterly 1979-01, Vol.7 (4), p.309-313
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description Murnau may have, as a director of considerable merit, a personal vision that permeates his oeuvre,1 but the particular configuration of Nosferatu-especially the absent Van Helsing and the new endingcan be construed as owing much to the structure of social-psychological variables operative in Germany at the time that Murnau was making his film. "4 The artistic movement that flourished was, fittingly, expressionism, described by Manvell and Fraenkel as "essentially a movement designed to get away from actuality and to satisfy the desire to probe seemingly fundamental truths of human nature and society by presenting them through fantasy and dramatized mysticism.
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identifier ISSN: 0090-4260
ispartof Literature film quarterly, 1979-01, Vol.7 (4), p.309-313
issn 0090-4260
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language eng
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source JSTOR Archive Collection A-Z Listing; Alma/SFX Local Collection
subjects Authority figures
Democracy
Folklore
Government subsidies
Horror fiction
Literature
Militant democracy
Motion picture directors & producers
Motion picture industry
Movies
Politics
Psychology
Setting
Stoker, Bram (1847-1912)
Tyranny
Vampires
World War I
title Dracula Meets the "Zeitgeist": "Nosferatu" (1922) as Film Adaptation
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