Watch F.W. Murnau's Nosferatu and compare and contrast it with The Cabiniet of Dr. Caligari. Read Roger Ebert's essay on Munau's masterpiece as well as his essay on Caligari and use at least one quote from each. Your response should be at least 2 well-developed paragraphs. Your responses should include quotes from either Ebert's essays or the essays I handed out in class.
If you want to re-watch Caligari, go here. Nosferatu can be found here.
If you want to re-watch Caligari, go here. Nosferatu can be found here.
Nosferatu (1922) and The Cabinet of Dr. Caligari (1920) are both very early ventures into the horror genre. They use similar if not the same equipment, making the distinction in technique between them even more noticeable.
ReplyDeleteBoth films use their tint as a heavy factor in the portrayal of their scenes. Cabinet tends to use the brown or blue filters alternatively to each other depending on the mood of the shot, whereas Nosferatu uses it to depict daytime and nighttime, a much more pivotal detail for itself than it would be in Calagari.
Another thing to note is how they achieve their intended affect. Calagari uses abstract imagery to disorient the viewer, scramble their minds as necessary for the film, ( making a world "90 degrees" from reality), whereas Nosferatu makes heavy use of corners and shadow to create fear or tension on screen through un-balance of the screen's spacial presence.
From my personal observations of both films, The Cabinet of Dr. Caligari and and Nosferatu, I believe that the genres are similar and have similar executions of the standardized horror drama. For example, I find the makeup used on the antagonists to both have very over extended definitions. Such as, the face paint used on the face of Dr. Caligari is very dark and defined and over exaggerated, and the same could most definitely be said for the makeup on Count Orlok/Nosferatu. Since characters have similarities in costume and makeup, one could state that both films have alike mise-en-scenes.
ReplyDeleteAlthough this may be true, the films have incredibly different settings. In The Cabinet of Dr. Caligari, there is a “jagged landscape of sharp angles and tilted walls and windows.” It is very obvious to the viewer that the sets used for the film are painted and handmade. In Nosferatu, it’s quite the opposite. The majority of the film’s shots and sequences are shot outdoors or in realistic sets. This is a large difference in the mise-en-scene of the films.
The Cabinet of Dr. Caligari (1920) and Nosferatu (1922) were both made in the early 1920s, and are of the horror genre, although a different type of horror than what modern-day audiences might be used to. While they may not be able to "manipulate [our] emotions like a skillful modern horror film" (Ebert), these films apply techniques of lighting, framing, makeup, and exaggerated acting to develop a story that resonates hauntingly with the viewer. In this post, I will be comparing and contrasting the use of shadows in both films.
ReplyDeleteDr. Caligari and Nosferatu both use exaggerated shadows to give the impression of a distorted mentality. However, while Dr. Caligari mostly relies on pre-painting shadows on its angular sets, Nosferatu uses actual light sources to create shadows, making Nosferatu seem more verisimilar than Dr. Caligari. One example of where shadows play a prevalent role in Dr. Caligari is the scene in Alan's room after his murder. The background, with the exception of the window, is cast in shadows, as is the foreground, while the middle ground is lighter, giving us a limited perspective. When Francis enters, he is grief-stricken, and his state of anguish can be represented by the darkness on either side of him, closing him in and hiding from him who the murderer is. In Nosferatu, shadows play an equally important role. "Much of the film is shot in shadow" (Ebert). Count Orlok's castle is one of the best examples of this, especially at nighttime. When Nosferatu comes into Hutter's room, he enters from a darkened hallway, as if he came from nowhere. Hutter can't see into the hallway, so he has no idea what might be lurking there in the darkness, and it is this fear that causes him to flee the castle and return to Bremen to protect his wife from Nosferatu's desires to suck upon her blood, often said to be a metaphor for sexual appetite.
Lighting in both films is used effectively to cast a distorted tone of mentality that "haunts us" (Ebert). However, lighting in Dr. Caligari changes less drastically than in Nosferatu. The lighting throughout Dr. Caligari is represented as sharp, angular shadows and light. These sharp shadows which permeate the entire film are reminiscent of Francis’s painful memories, since the bulk of the movie is taking place in his mind as recounts the story of Caligari and it turns out that he’s actually the one in the asylum. Lighting in Nosferatu begins with mostly very bright scenes taking place in the daytime. When he goes to Nosferatu’s castle, the mise-en-scène becomes much darker, almost like a mental descent, and loses some of its verisimilitude. At the conclusion of the film, it is dawn and getting brighter again, which symbolizes Hutter’s return from the darkness, as well as Nosferatu himself and the rest of the townspeople no longer being plagued. Both films use darkness expressively to create an atmosphere of a distorted reality, but in The Cabinet of Dr. Caligari it represents a man’s painful memory, while in Nosferatu it represents the main character’s journey into and return from the darkness.
I know this is super long, but you did ask us to be specific about describing particular scenes.
DeleteThis is an excellent example of what I'm looking for--you have examined lighting in a thorough manner for a blog response. Nicely done. You might have wanted to mention that these two films are representative of the German Expressionist movement which gave way to the genre of horror.
DeleteBoth The Cabinet of Dr. Calgari (1920) and Nosferatu (1922) are early 1920s horror movies that are early explorations into modern horror. Neither of the films are necessarily "scary in the modern sense," and are mostly admired today for their "artistry and ideas," their "atmosphere and images," and their "ability to manipulate... emotions like a modern horror film."
ReplyDeleteBoth films use twisted, otherworldly scenery to set the tone for the entire movie. The makeup and costumes of the characters and the odd shadows and objects seen throughout the film create a dark, mysterious mood. Both Count Orlok and Dr. Calgari wear heavy makeup throughout the film that makes both characters seem inhumane, as if they are being played by mutants instead of humans.
Shading and shadows are also very important to both films. "Much of the film (Nosferatu) is shot in shadow." This creates a dark tone throughout the film. In The Cabinet of Dr. Calgari, blue and yellow shading is used. This creates different moods throughout the film, with yellow being calm and normal and blue being dark, eerie, and mysterious.
Jimmy, what are the sources of your quotes?
DeleteAlso, these two films are representative of the German Expressionist movement which gave way to the genre of horror. This is important.
In the 1920s, a time when the major Hollywood films were focusing on keeping their repertoire as idealistic as possible, Germany began experimenting on their movies to create works that were dark, surreal and macabre, with a heavy emphasis of lighting and makeup to create tones of pure suspense within audiences. Among the films that came out of this period, known as German Expressionism, were Robert Wiene's "Cabinet of Dr. Caligari" and F.W. Murnau's "Nosferatu". These films were some of the seminal works that came out of this period of abstract experimentation, and to watch them is to witness the inception of horror in films as we know them today.
ReplyDelete"The Cabinet of Dr. Caligari" is frequently cited as the very first horror film, and given the frighteningly bizarre sets of strange angles and imperfect shapes its world is made of it's not hard to immediately understand why. Characters are given heavy makeup that emphasize the shadows on their faces, and the dark lighting and frequent usage of iris shots give the whole movie the appearance of a fever dream-which, taking into account the twist ending, is a clever use of visual foreshadowing within the story. As Roger Ebert says in his essay on the movie, this is "a film of delusions and deceptive appearances, about madmen and murder, and his characters exist at right angles to reality." (Ebert)
While "Caligari" may have originated the German Expressionist movement, "Nosferatu" is the movement at its peak. The film is shot with a heavy emphasis on shadow, and the protagonists are frequently moved out of the center of frame, diminishing their power against the sheer force of evil that is Count Orlok, a vampire character never before seen in any context. The shots of him are long and tense, and he moves slowly and unnaturally, his dominance of the shots forced just as he forces himself on his victims. His true evil does not show through his monstrous appearance, but rather by his sheer presence throughout as he spreads shadow and plague wherever he goes. As Roger Ebert said in his analysis, "(The movie) shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death." (Ebert)
Nosferatu and The Cabinet of Dr. Caligari are two examples of German expressionist horror films. Although the two have certain similarities that are common in horror movies, they also have noticeable differences, especially in their mise-en scene.
ReplyDeleteThe similarities between the two films include their use of costumes and lighting to convey meaning. Both movies have many characters that are portrayed as "normal" by their simple costumes and realistic makeup. The two sinister characters in the film, Count Orlock and Dr. Caligari are set apart by their use of exaggerated on their faces. The two films also both used shadow to create suspense. In The Cabinet of Dr. Caligari, we see the shadow of a knife being raised over Alan's head as he sleeps, and we intuitively grasp what is going to happen next. In Nosferatu, we see the shadow of Count Orlock climbing the steps towards Ellen, making us realize that something dramatic is about to happen.
The main difference that I noticed during the films was the difference in setting. The Cabinet of Dr. Caligari is remembered for its "jagged landscape of sharp angles and tilted walls and windows"(Ebert). Most of the sets are painted with artificial light and buildings, making the film seem less realistic and more fantastic. On the other hand, Nosferatu has a much more less stylized set. The movie is set against realistic buildings and landscapes, which adds to the verisimilitude of the film. The scenes shot in Hutter's hometown in Germany give us an accurate depiction of real life, which is very different from the town in The Cabinet of Dr. Caligari.
When comparing F. W. Murnau's "Nosferatu"(1922) and Robert Wiene's "The Cabinet of Dr. Caligari"(1920), it is very apparent that they have extremely similar characteristics. Both Murnau's and Wiene's films are from the 1920's, which is also known as the silent era of film production; they also both fit under the category or German expressionism. They are both horror/thriller films that use very dark lighting to fully immerse the audience into the story.
ReplyDeleteEven though these two films are very similar, they are also very different in their own ways. In "The Cabinet of Dr. Caligari", the sets and the makeup are bolder and more exaggerated creating a whole new world with "radical distortions" within the film. The sets "inhabit a jagged landscape of sharp angles and tilted walls and windows" (Ebert). In "Nosferatu", the sets were a lot more realistic and portrayed a world that "seems to really believe in vampires" (Ebert). The makeup used on the normal people was really subtle compared to the characters in "Caligari". But, the exaggerated makeup for the Somnambulist in "Caligari" is a lot more human-like compared "Nosferatu"'s Orlok more beast-like makeup.
German Expressionism refers to a creative movement in Germany that started before the First World War, and continued throughout the 1920s. Two major films that came out of this time period are The Cabinet of Dr. Caligari (1919), and Nosferatu (1922). Both of these films are silent films and both are also early attempts in the horror genre. Because both of these films are from the same time period, they share a lot of similarities, but they also have some differences.
ReplyDeleteFor example, Nosferatu took on a more realistic feel but Caligari takes a more anti realistic approach towards its mise en scene.According to Roger Ebert,” The actors inhibit a jagged landscape of sharp angles and tilted walls, and windows, staircases climbing crazy diagonals, trees with spiky leaves, grass that looks like knives. Also, unlike Nosferatu, in terms of lighting, Caligari uses extreme vignetting to direct the viewer's eyes towards the subject. In both of these films, some of the major characters have exaggerated makeup and in both, longer shots were used to create suspense. The makeup and suspense helped to make these films feel creepy, although these films would not be considered scary compared to today's standards.
Two major films of German Expressionism were Nosferatu and The Cabinent of Dr. Caligari. They were both horror films and have a few similarities and differences as they were created in about the same time period. They are both silent films and are early takes on horror. In both of the movies, extreme exaggeration is utilized to exaggerate the difference of the supernatural. For example, the makeup in both films from someone who is not entirely human and for someone who is, is very different. More intense makeup is used to portray the supernatural. The purpose of this is to exaggerate the difference between the real, human world and the possibility of a different supernatural one. The lighting used in both films is also similar. A lot of dark lighting is used to create an aura of evil and fear.
ReplyDeleteA difference that I noticed was in the setting of both films. Caligari uses much more "real" settings than Nosferatu. The background in Nosferatu seems much more stage-like and fake compared to the other film. It seems as if the movie was filmed in front of different backdrops whereas in Caligari, it appears to be a real life physical setting that the camera is placed in.
Samiha, it appears you have confused the two films. I think you mean Caligari is more stage-like than Nosferatu.
DeleteBoth the cabinet of caligari and nosferatu were extremely interesting and frightening for their time periods. Both films employed a variety of techniques to convey the spooky tone of the film. For example both movies relied heavily on hair and makeup to create characters that would make the viewer uneasy and scared. While the sets and cinematic choices also played a major role in both films. Both movies also shared the general plot of a man coming face to face with a monster.
ReplyDeleteThe cabinet of Caligari was terrifying for its time, mostly because of the look of the two antagonists: cesar and Caligari. Cesare, the somnambulist, was given heavy dark eye makeup and lipstick to create a chilling look that made him more scary. While Caligari had wild and askew hair to characterize him as unpredictable, wild, and insane. Both working together to make the audience uneasy of both characters. Close ups were also frequently employed to create a crazy tone throughout the film, especially on dr. Caligari. As well as sharp and bold movements by the actors to extract sharp reactions from the viewer. Also, as most of the movie took place in a dream, the ssts were able to be created in a more expressionist way than reality. With large drawn on shadows, twisting roads, and darkness throughout the painted backgrounds, the sets played a major role in the tone of the movie. Giving “the effect is to deny the characters any place of safety or rest.” Both sets, makeup, and movement, working together to make the movie scary.
Similarly Nosferatu also employs exaggerated makeup to create more horrifying characters. Just like in The Cabinet of Caligari wild, frizzy, askew hair is utilized to make characters seem crazy. Most noticeably the exaggerated features of Nosferatu were used to make him seem scary. Unlike Caligari Nosferatu took place in the real world so the sets were more realistic. So the horror was taken more from the characters and monster than the set design.
In my opinion Nosferatu was less scary than the Cabinet of Caligari, for reasons Elbert put best: “It doesn’t scare us, but it haunts us. It shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death.” While the uneasiness of Caligari created a much scarier movie. Overall both movies were a credit to the German Expressionist time period and were the first of many great movies to come.
The cabinet of Dr. Calagari (1920) uses built sets containing jagged angles and distortion. This depicts the unreal and twisted world the mind of Dr. Calagari inhabits portraying the doctors mental state both explicitly and implicitly to the audience. Roger Ebert stated, "These radical distortions immediately set the film apart from all earlier ones, which were based on the camera's innate tendency to record reality". The lighting is artificial and in fact the shadows seen in on the set are painted. This creates the idea that the men that murder and are insane are at a constant right angle to reality.
ReplyDeleteNosferatu (1922) instead of painted sets uses onsite locations such as castles and mountains, and towns. The camera uses closed framing inside archways to depict no escape or freedom for the main character trapped inside the castle. The use of shadows leaves darkness to be seen around every corner and it leaves the mind to the imagination, constantly pondering whether or not the main character will be attacked by the creature that is holding him hostage. Ebert stated , "It suggests these dark fears in the very style of its visuals. Much of the film is shot in shadow. The corners of the screen are used more than is ordinary; characters lurk or cower there, and it's a rule of composition that tension is created when the subject of a shot is removed from the center of the frame".
Robert Wiene’s The Cabinet of Dr. Caligari and F.W. Murnau's Nosferatu are two prime examples of German expressionism, a movement that ultimately paved the way for all horror movies of the 20th century. Both films were a product of the same time period and style, yet they differ in how the style is represented. German expressionism was a movement of European (particularly German) film in the 1920s that rejected Western conventions of filmmaking. Decisions by expressionist filmmakers often served the purpose of strengthening the narrative of the the film, rather than creating a realistic environment. Shadows are a particularly strong motif in German expressionist films. In Caligari, shadows are artificially created on the sets for the purpose of establishing the importance of the time of day in the film, as well as highlighting the movement of characters. Ultimately, the artificial shadows work in conjunction with the characters to create a broader meaning. While the shadows and the characters work together in Caligari, they seem to work against each other in Nosferatu. Max Shreck’s Count Orlok is often found coming out from the shadows, rather than having a specific shadow of his own. This creates an unsettling environment for the viewer, and, according to film critic Roger Ebert, “suggests...dark fears in the very style of its visuals.”
ReplyDeleteBoth films serve the purpose of depicting outlandish worlds that frighten the viewer. In the case of Caligari, this was achieved by rejecting the idea of visually realistic sets in favor of what Wiene believed to be culturally realistic sets. Roger Ebert described this as “a subjective, psychological fantasy.” The sharp, uneven buildings in Holstenwall do not paint a visually realistic picture of Germany at the time. However, Wiene’s intent was to visually represent what it felt like to live in Germany after World War I. The combination of outlandish sets and shooting primarily closed frame shots convey the ideas that Germany was a cold, dark, and oppressive place to live after World War I. While Caligari was the standard setter in terms of German expressionistic world building, Nosferatu is a film that bends those standards to suit the narrative. Murnau was infamous for using extremely long and wide shots, heavily shadowed. These sets served the purpose of creating space that, in turn, created tension in the audience, since the shadows obstructed the viewer from grasping the entire picture.