Exploring the Connection with the Movement.
German Expressionism was mainly concentrated between 1905 and 1920, focusing on inner emotions and intense moods. There is drama in the subjects, deformation of forms, very bright and contrasting colors almost thrown against the surface, energetic and full-bodied brushstrokes. The emphasis is on anguish, alienation, and criticism of modernity and war. To give you an idea, the movement ranges from the Fauvism to Munch, Matisse, and Dufy, to mention perhaps the best known names.
The New Objectivity (Neue Sachlichkeit) wedged its way in in the aftermath of the First World War in the aftermath of World War I, a reaction against the idealism that characterized art before the war. This movement arose in Germany during the 1920s, reflecting a society that was disillusioned by the horrors of war and seeking a new authenticity in its representation of reality. Artists associated with the New Objectivity turned their backs on romanticism and abstraction, instead opting for a more realistic, unembellished approach to their work. This shift was not merely aesthetic; it was deeply rooted in the socio-political context of post-war Germany, where the social fabric was fraying and the economic landscape was bleak.
The New Objectivity was characterized by a focus on everyday life, often depicting the struggles of the working class and the complexities of urban existence. Artists like Otto Dix and George Grosz employed a raw, unflinching style to expose the grim realities of contemporary society. Their works often critiqued the bourgeoisie and the political elite, revealing the stark contrasts between the social classes and the psychological toll of war. In doing so, they aimed to capture the essence of a world that had been irrevocably altered by conflict, seeking to provoke thought and evoke emotion through their bold realism.
The New Objectivity movement takes a clear-sighted and ruthless look at society. It is more realistic and detailed. The outlines are clear and the atmospheres cold, almost icy.
It denounces the corruption and hypocrisy of the bourgeoisie, and the consequences of a war (the First World War) that annihilated humanity and made it disillusioned.
In parallel with the rise of the New Objectivity in visual arts, cinema began to evolve as a powerful medium for storytelling. The aesthetic principles of the movement found their way into film, influencing directors, cinematographers, and set designers. Filmmakers began to adopt a more documentary-like approach in their narratives, emphasizing realism over fantasy. This shift would eventually pave the way for films like F.W. Murnau‘s “Nosferatu,” which, while inherently a horror film, encapsulated the themes of modernity, alienation, and societal critique that were central to the New Objectivity movement.
Nosferatu’s connection to the New Objectivity Movement.
F.W. Murnau‘s “Nosferatu” is often heralded as one of the earliest and most influential horror films in cinema history. Released in 1922, it presents a chilling narrative that intertwines supernatural horror with the grim realities of early 20th-century life. The film’s connection to the New Objectivity movement lies not only in its visual style but also in its thematic undercurrents, which resonate with the movement’s emphasis on realism and social commentary. Murnau’s depiction of Count Orlok and the plague-infested backdrop of Wismar serves as a metaphor for the anxieties faced by a society in turmoil.
The film’s narrative arc reflects the existential dread pervasive in post-war Germany, capturing a sense of pervasive fear and uncertainty. Count Orlok, as a figure of otherness, embodies the societal fears of disease, death, and the unknown that haunted the public consciousness at the time. This connection to the New Objectivity is evident in the film’s portrayal of Orlok as a grotesque representation of modernity’s fears—an intruder in the mundane lives of the townspeople, much like how the socio-political realities intruded upon the lives of the working class.
Moreover, Murnau’s directorial choices echo the movement’s principles, utilizing stark contrasts and a muted color palette to evoke a sense of realism. The film’s cinematography, particularly its use of shadow and light, creates an atmosphere that is both haunting and reflective of the somber realities of the era. The visual representation of Count Orlok, with his exaggerated features and unsettling presence, serves as a stark reminder of the fears that plagued society, thereby establishing a clear connection between “Nosferatu” and the themes inherent in the New Objectivity movement.
Let’s look at the Murnau technique in detail.
1. The make-up and design of the character of Orlok
The creation of the character of Count Orlok (played by Max Schreck) is another innovative element. Orlok’s makeup, with his pale skin, long claws, pointed ears and sharp teeth, introduced a vampire figure completely different from the one that had been previously represented, for example in novels and other transpositions. Orlok’s disturbing appearance had a great influence on the way vampires were represented in subsequent films.
2. The movement of the camera
Murnau used the camera in a creative way to increase the dramatic intensity of the film. An example of this is the dolly shot (a camera movement on a rail) that follows Orlok as he moves, creating an effect of suspense and constantly showing his menacing presence. Murnau is also known for using slow and deliberate camera movements to express the supernatural power of the vampire.
3. Special effects (and their innovations)
“Nosferatu” was a pioneer in the use of special effects. A famous example is when Orlok emerges from his coffin: the effect was achieved using the reverse motion technique, which made Orlok appear to rise up by himself. Furthermore, the effect of his shadow, which seems to take on a life of its own, is one of the most well-known examples of visual special effects in the film, creating a sense of terror and the vampire’s invincibility.
4. The use of superimposition
Murnau used a superimposition technique to create visually powerful images. A significant example is the sequence in which Orlok appears in a reflection in a glass or in other scenes in which the characters seem to be in contact with invisible or supernatural forces. This technique, which consists of superimposing several images in the same frame, was a novelty at the time and contributed to reinforcing the fantastic and mysterious element of the film.
5. Editing and visual storytelling
Murnau applied unconventional editing techniques to create a sense of tension and to manipulate the perception of time. For example, the use of film speed and crossfading made the narrative more visually dynamic, increasing the dramatic intensity of the scenes. Murnau’s ability to tell a story through images and movement, without relying too heavily on dialogue, was one of the innovations that made Nosferatu such an influential work.
6. Simple sets, but with emotional impact
The sets in the film, while relatively simple, were designed to reflect the eerie and disturbing atmosphere. The distorted shapes, angular buildings and strange architecture are a key element of expressionism, and serve to emphasize the perception of an abnormal world. In particular, the use of “striped” sets, or angular lines, and the inclination of some objects and buildings, contributed to suggesting a distorted, threatening, almost surreal world.
7. “Double exposure” technique to represent invisibility
In some scenes, such as the one in which Orlok materializes in the shadows, Murnau used the double exposure technique, which consists of superimposing two images on a single film. This technique was used to make figures visible that are not really there, or to create the sense of an invisible presence acting behind the scenes, as in the case of the shadows shown of Orlok as he moves around the house.
8. The use of parallel editing
Parallel editing, which alternates two or more scenes simultaneously to create tension, is another innovative technique. A perfect example is the scene that alternates between Orlok preparing to attack and Ellen, unaware of the danger, awaiting her fate. This type of editing increased the suspense and created a link between the characters’ actions and the imminent danger.
The technical parallels with New Objectivity.
1. Use of distorted and unrealistic forms
German Expressionism (and New Objectivity) in painting are known for the distortion of forms and proportions, to represent intense emotions, anguish and alienation. This tendency to “exaggerate” forms and figures is also reflected in “Nosferatu” through the scenography and costumes. The settings of the movie, for example, are often characterized by angular lines, bizarre and edgy architectures that seem “strange” and unnatural. These elements are comparable to expressionist paintings representing deformed landscapes, disturbing and distorted shapes, such as the works of Edvard Munch or Ernst Ludwig Kirchner.
2. Distressing and unreal atmosphere
In the artistic movement, vivid colors, nervous brushstrokes and distorted figures are tools that seek to convey turbulent emotions. In a similar way, “Nosferatu” creates an anguished and unreal atmosphere through the use of light and shadow, creating distorted scenographies and a sinister aspect to the settings. The figure of Count Orlok himself, with his pale face, long claws and deformed body, is almost a “living painting”, an extension of pictorial expressionism.
3. The use of light and shadow
Another fundamental pictorial element is the dramatic contrast between light and shadow, which helps to express internal emotions, fears and psychological conflicts. Murnau also uses the contrast between light and shadow in an equally dramatic way. The chiaroscuro lighting in the movie is extremely important and contributes to reinforcing the claustrophobic and disturbing atmosphere of the movie. The elongated shadows of Orlok as he walks up the stairs, for example, are a clear parallel with expressionist paintings that often use shadow to accentuate drama and emotional intensity.
4. Sense of alienation and separation from the real world
Expressionism in painting is also associated with a sense of alienation, in which the individual is separated from the surrounding world, experienced as foreign or threatening. This theme of alienation is also present in “Nosferatu”: Orlok, with his monstrous and isolated figure, is an out of the ordinary being, foreign and detached from human reality. In the same way, the city of Minster and the spaces in which the characters move (often empty or disturbing) seem alienating places, far from normality, very similar to the surreal and disturbing landscapes that we find in many expressionist works.
5. The role of emotions in visual representation
German Expressionism and New Objectivity did not simply seek to represent the world objectively, but to express moods, inner conflicts and psychological tensions. Similarly, “Nosferatu” conveys the conflict between good and evil, fear and hope, but it does so through a very powerful visual language: the distortions in the scenography, Orlok’s sinuous movement and the use of light emphasize these emotional and moral conflicts, making the film a visual representation of fear, rather than a simple linear narrative.
6. Subjectivity and perception of the protagonist
Expressionist painting often gives life to subjective and distorted visions of reality, emphasizing the emotional point of view of the protagonist. In Nosferatu, we see many scenes from the point of view of Hutter (the protagonist) or his partner Ellen, in which the surrounding world is distorted by fear. This use of subjective perspective is comparable to expressionist painting, which does not represent the world as it appears, but as the subject perceives it. The images we see are charged with emotion, as if the world itself were a projection of the character’s mental state.
7. The figure of the monster
In painting, expressionism was not limited to representing human emotions, but also included the representation of monsters and disturbing creatures, symbolizing inner anguish. Orlok is the monster that embodies evil and horror, and his figure is reminiscent of the representations of monsters and demons in expressionist art, such as those painted by Otto Dix or Max Beckmann. The use of Orlok as a symbol of evil, visually deformed and distorted, is an extension of the monstrous figures that appear in many expressionist works.
Reception and legacy of Nosferatu.
Upon its release in 1922, “Nosferatu” received a mixed reception, with some praising its innovative approach to horror while others criticized its departure from traditional storytelling. The film’s unauthorized adaptation of Bram Stoker‘s “Dracula“ led to legal disputes that ultimately resulted in the destruction of many prints, contributing to its status as a cult classic. Despite the initial controversy, “Nosferatu” gradually gained recognition for its artistic merit and groundbreaking visual style. Audiences began to appreciate Murnau’s ability to blend horror with social commentary, allowing the film to resonate with viewers across generations.
The legacy of “Nosferatu” extends far beyond its original release. It has become a foundational work in the horror genre, influencing countless filmmakers and artists. The film’s innovative techniques, such as its use of shadow and light to evoke mood and atmosphere, set a precedent for future horror films. Directors like Alfred Hitchcock and later horror filmmakers would draw inspiration from Murnau‘s approach, using similar visual storytelling methods to explore themes of fear and alienation.
Moreover, “Nosferatu” has been reinterpreted and revisited in various forms, solidifying its place in popular culture. Remakes and adaptations, including Werner Herzog‘s 1979 version and the animated film “Nosferatu the Vampyre,” have sought to capture the essence of Murnau’s original vision while infusing it with contemporary relevance. The film’s iconic imagery and themes continue to resonate, reminding audiences of the timeless nature of its exploration of humanity’s deepest fears and desires. In this way, “Nosferatu” has transcended its time, becoming a symbol of the enduring power of cinema as a medium for artistic expression and social critique.
Comparing Nosferatu with other films of the New Objectivity Movement.
When examining “Nosferatu” within the context of other films associated with the New Objectivity movement, it is essential to recognize the various ways in which filmmakers integrated the movement’s principles into their works. While “Nosferatu” stands out for its distinct horror elements, other films of the era, such as “Berlin: Symphony of a Metropolis” and “The Cabinet of Dr. Caligari,” explored similar themes of modernity and alienation through different lenses. These films often employed innovative storytelling techniques and visual styles that reflected the societal anxieties of the time.
“Berlin: Symphony of a Metropolis,” for instance, utilized a documentary-style approach to depict the bustling life of Berlin in the 1920s. Its focus on urban life and the experiences of everyday individuals echoes the New Objectivity’s emphasis on realism. Similarly, “The Cabinet of Dr. Caligari,” while more expressionistic in style, delves into themes of madness and societal control, resonating with the disillusionment prevalent in post-war Germany. Both films, alongside “Nosferatu,” contribute to a broader cinematic discourse that seeks to capture the complexities of modern existence.
Moreover, the aesthetic choices made in these films highlight the diverse interpretations of the New Objectivity movement. While “Nosferatu” employs horror to address themes of fear and alienation, “The Cabinet of Dr. Caligari” uses twisted sets and surreal imagery to evoke psychological distress. This divergence in style and narrative reflects the multifaceted nature of the movement, underscoring the ways in which filmmakers responded to the socio-political climate of their time. Through this comparative lens, it becomes evident that “Nosferatu” occupies a unique space within the movement, bridging the gap between horror and realism while engaging with the existential questions that defined the era.
Nosferatu, art and final thoughts.
The intricate connections between “Nosferatu” and the New Objectivity movement, it becomes clear that F.W. Murnau’s film serves as a profound commentary on the socio-political realities of its time. Through its exploration of themes such as fear, alienation, and the outsider, “Nosferatu” transcends the confines of traditional horror, embedding itself within the broader artistic discourse of the early 20th century. The film’s innovative visual style, steeped in the principles of both New Objectivity and Expressionism, captures the essence of a society grappling with the aftermath of war and the uncertainties of modern existence.
The legacy of “Nosferatu” continues to resonate in contemporary culture, inspiring filmmakers, writers, and artists to engage with its themes and aesthetic. Its influence is not merely confined to the horror genre; it has permeated various aspects of creative expression, serving as a touchstone for discussions surrounding identity, fear, and the human condition. As we reflect on Murnau‘s masterwork, we are reminded of the enduring power of cinema as a medium for artistic exploration and societal critique.
In this contemporary world so devastated, especially in Europe, after Covid and with the wars, both Murnau‘s film and the New Objectivity movement resonate with us as extremely relevant.
