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NosferatuA Symphony of Horror$
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Cristina Massaccesi

Print publication date: 2016

Print ISBN-13: 9780993238451

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9780993238451.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 02 August 2021

Bringing the undead to life

Bringing the undead to life

Chapter:
(p.21) Chapter 2 – Bringing the undead to life
Source:
Nosferatu
Author(s):

Cristina Massaccesi

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9780993238451.003.0005

This chapter details the production of Nosferatu (1922). In line with the preferred working pattern of Weimar cinema that placed at its centre the so-called ‘director-unit’ — a system whereby each film was the product of a closely knit collaboration of director, screenwriter, set designer, and cameraman — Nosferatu can be regarded not just as the product of the artistic genius of F. W. Murnau but also as the brainchild of at least three other men: the producer and set designer Albin Grau, the screenwriter Henrik Galeen, and, although to a somewhat lesser extent, the cameraman Fritz Arno Wagner. The chapter studies their personalities and careers. It then looks at the film's reception and the following controversy and legal action against Prana Film for the illegal use of intellectual property. Finally, the chapter assesses how similar Nosferatu really was to its literary source, Bram Stoker's Dracula (1897).

Keywords:   Nosferatu, Weimar cinema, F. W. Murnau, Albin Grau, Henrik Galeen, Fritz Arno Wagner, Prana Film, intellectual property, Bram Stoker, Dracula

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