Nosferatu 1979

Werner Herzog's Nosferatu – Phantom der Nacht (1979) is one of the masterpieces of the New German Cinema of the 1960s and 70s. Adapted from Bram Stoker's Dracula, and mindful too of F. W. Murnau's earlier German film version of that same novel, Herzog's film is perhaps the most compelling screen treatment of the vampire myth. In this comprehensive account of Nosferatu, S. S. Prawer begins with discussion of Stoker's book, the cultural fascination with vampires, and the formation and evolution of Herzog's career. Taking the production history into account, Prawer ultimately foregrounds the cultural and aesthetic components of the film that combine to such powerful effect. This second edition features a new foreword by Brad Prager and original cover artwork by Matt Brand.

Werner Herzog's Nosferatu – Phantom der Nacht (1979) is one of the masterpieces of the New German Cinema of the 1960s and 70s. Adapted from Bram Stoker's Dracula, and mindful too of F. W. Murnau's earlier German film version of that same novel, Herzog's film is perhaps the most compelling screen treatment of the vampire myth. In this comprehensive account of Nosferatu, S. S. Prawer begins with discussion of Stoker's book, the cultural fascination with vampires, and the formation and evolution of Herzog's career. Taking the production history into account, Prawer ultimately foregrounds the cultural and aesthetic components of the film that combine to such powerful effect. This second edition features a new foreword by Brad Prager and original cover artwork by Matt Brand.

‘Nosferatu’ in the 21st Century is a celebration and a critical study of F. W. Murnau’s seminal vampire film Nosferatu, eine Symphonie des Grauens on the 100th anniversary of its release in 1922.The movie remains a dark mirror to the troubled world we live in seeing it as striking and important in the 2020s as it was a century ago. The unmistakable image of Count Orlok has traveled from his dilapidated castle in old world Transylvania into the futuristic depths of outerspace in Star Trek and beyondas the all-consuming shadow of the vampire spreads ever wider throughout contemporary popular culture. This innovative collection of essays, with a foreword by renowned Dracula expert Gary D. Rhodes, brings together experts in the field alongside creative artists to explore the ongoing impact of Murnau’s groundbreaking movie as it has been adapted, reinterpreted, and recreated across multiple mediums from theatre, performance and film, to gaming, music and even drag. As such, ‘Nosferatu’ in the 21st Century is not only a timely and essential book about Murnau’s film but also illuminates the times that produced it and the world it continues to influence.

Werner Herzog's Nosferatu – Phantom der Nacht (1979) is one of the masterpieces of the New German Cinema of the 1960s and 70s. Adapted from Bram Stoker's Dracula, and mindful too of F. W. Murnau's earlier German film version of that same novel, Herzog's film is perhaps the most compelling screen treatment of the vampire myth. In this comprehensive account of Nosferatu, S. S. Prawer begins with discussion of Stoker's book, the cultural fascination with vampires, and the formation and evolution of Herzog's career. Taking the production history into account, Prawer ultimately foregrounds the cultural and aesthetic components of the film that combine to such powerful effect. This second edition features a new foreword by Brad Prager and original cover artwork by Matt Brand.

Jonathan Harker, against the wishes of his wife, departs on a journey over the Carpathian Mountains to arrange a real estate transaction for Count Dracula, with tragic results. | Performed by: Klaus Kinski, Isabelle Adjani, Bruno Ganz. | Originally produced as two motion pictures (simultaneously shot in German and English versions with the same cast and crew) in 1979. | Includes: Main feature in German (with optional English subtitles); Behind the scenes featurette: 'Werner Herzog talks about the making of his new film Nosferatu-the vampyre' (in English); main feature in English.

Retelling of Bram Stoker's Dracula based on the screenplay of the 1979 German film Nosferatu.

The media vampire has roots throughout the world, far beyond the shores of the usual Dracula-inspired Anglo-American archetypes. Depending on text and context, the vampire is a figure of anxiety and comfort, humor and fear, desire and revulsion. These dichotomies gesture the enduring prevalence of the vampire in mass culture; it can no longer articulate a single feeling or response, bound by time and geography, but is many things to many people. With a global perspective, this collection of essays offers something new and different: a much needed counter-narrative of the vampire's evolution in popular culture. Divided by geography, this text emphasizes the vampiric as a globetrotting citizen du monde rather than an isolated monster.

The contributions in this volume focus on the ways in which silence and music relate, contemplate each other and provide new avenues for addressing and gaining understanding of various realms of human endeavour. The book maps out this little-explored aspect of the sonic arena with the intention of defining the breadth of scope and to introduce interdisciplinary paths of exploration as a way forward for future discourse. Topics addressed include the idea of 'silent music' in the work of English philosopher Peter Sterry and Spanish Jesuit St John of the Cross; the apparently paradoxical contemplation of silence through the medium of music by Messiaen and the relationship between silence and faith; the aesthetics of Susan Sontag applied to Cage's idea of silence; silence as a different means of understanding musical texture; ways of thinking about silences in music produced during therapy sessions as a form of communication; music and silence in film, including the idea that music can function as silence; and the function of silence in early chant. Perhaps the most all-pervasive theme of the book is that of silence and nothingness, music and spirituality: a theme that has appeared in writings on John Cage but not, in a broader sense, in scholarly writing. The book reveals that unexpected concepts and ways of thinking emerge from looking at sound in relation to its antithesis, encompassing not just Western art traditions, but the relationship between music, silence, the human psyche and sociological trends - ultimately, providing deeper understanding of the elemental places both music and silence hold within world philosophies and fundamental states of being. Silence, Music, Silent Music will appeal to those working in the fields of musicology, psychology of religion, gender studies, aesthetics and philosophy.