Both Stoker’s Dracula and Mernau’s Nosferatu have been utilized to create a new text, with its own issues, the new textual content being shadow of the goule, and its concerns being that it needs to appeal to a postmodern audience. Darkness of the goule is a fresh text symbolizing new elements that speak out loud with a contemporary, post modern audience.
Various elements of the gothic mode for example vampirism, immortality, libido, and the shadow motif have already been appropriated, as well Intertextuality is created through the use of true Nosferatu video footage, and re-enactments of Nosferatu in order to appeal to a postmodern audience. The two texts Dracula and Nosferatu have been utilized to create the film darkness of the goule. Shadow with the vampire can be not a right transformation of Dracula and Nosferatu, this can be a new text representing fresh elements that resonate having a contemporary postmodern audience.
This kind of postmodern film has used components from the two historical texts, in a lively and ironic fashion to appeal to a postmodern viewers. One of the main facets of the film that appeals to a postmodern audience is a idea of the emphasis on the process, which is exactly about making a film about the making of any film. As luck would have it the content modernists possess used a film about the making of any film to critic the film sector, the very industry that makes their film. Playfulness is usually represented in many ways throughout the film to charm to a postmodern audience. At the start of the film when the credits are playing playfulness is usually shown when ever modern artwork is used to develop something that appears medieval.
Within a re-enactment of Nosferatu Shrek talks when he in not supposed to, Murnau reacts by saying “give the lips readers a thrill” this kind of playful discussion is directed towards the fact that Nosferatu is actually a silent film and you are unable to hear the actual actors found. Various components of the gothic such as vampirism, immortality, sexuality, and shadow motif had been taken from Dracula and Nosferatu and have been appropriated to create a new text that appeals to a postmodern target audience. In darkness of the vampire the camera is represented as the vampire that metaphorically passes off people in the film, it decreases its subject matter to a pure shadow, acquiring their skin and blood vessels away.
This idea is evident in the conversation when Gretimai says “theatrical audience gives life, when this issue merely takes it via me” indicating that essentially the camera is the vampire. The juxtaposition with the new and old plus the seamlessness of past and present approaching together for example the lap layers, goggles, and camera juxtaposed with the aged surroundings demonstrates that time is non thready in the motion picture world, this also provides cinema a sense of immortality as though it has were living forever emphasising the idea that the cinema itself/camera is the vampire. In Dracula the idea of immortality is represented through Dracula himself, when he is solid, powerful and will live permanently.
However in Shadow of a goule the new thought of immortality is that of the growing old of the film maker Murnau. Murnau is definitely obsessed with the idea that he will go on forever through his fine art, being the film he is making. Murnau acts such as a megalomaniac, in order to produce his art, he sacrifices all else to satisfy his desire to survive through his art. He admits that to Greta “consider this a sacrifice for your art” this is remarkable irony to be sure he has recently sacrificed her life in the name of science and art.
Dracula’s Mina Murray is the greatest Victorian female, she is the embodiment in the virtues of the age. Mina’s sexuality remains enigmatic through the entire whole of Dracula. Nevertheless she seamlessly puts together, she by no means gives tone to anything resembling a sexual desire or perhaps impulse, which usually enables her to retain her purity. The sexuality inside the film nevertheless is quite different, it has been appropriated to charm to a postmodern audience. Darkness of a goule reflects a side of society that Nosferatu and Dracula doesn’t, we see this in the appropriation of ganga to Gretimai representing libido, moral corrosion, and a hedonistic contemporary society, this is characterized through Greta and her pursue of pleasure and drugs.
In Nosferatu shadows are used to stand for Orlok, and Dracula shadows are used to symbolize darkness and Dracula himself. In the film these tips have been appropriated in order to appeal to a postmodern audience. Murnau is displayed as being the vampire’s shadow, he can seen as the dark and scary personality. This makes Shrek seems weak, and respetable. It also makes the viewer feel empathy to Shrek.
A good example of this is in the scene in which we Shrek is looking right into a projector at the light, the fact he longiligne for yet can never include. This cut of the lumination is an actual clip via Nosferatu demonstrating intertextuality as well as the link between the two movies. Re-enactments and use of genuine Nosferatu video clip in darkness of the goule creates intertextuality, allowing the film to resonate which has a post modern day audience.
Re-enactments such as the one in the landscape at the table with Shrek and Gustav creates intertextuality, as well as movie theater virtue. With this scene Murnau is leading Gustav to slowly slice his breads and to enjoy Shrek as well, when Gustav is almost done cutting his bread Murnau yells loudly “don’t cut your finger”, causing him to really slice his ring finger creating theatre virtue. The cinema virtue used in this kind of scene will help the film appeal to a contemporary market as the postmodern concepts of doing a thing for science and fine art are featured.
Murnau planned to make the film as true as possible as they saw that as recording a real documented for the sake of scientific research and art, he would go to any measures to make the film seem actual this is why this individual used naturalistic techniques to generate Gustav really cut his finger. In summary the two text messaging Dracula and Nosferatu have been completely used to generate Shadow in the vampire, a brand new text that appeals to a postmodern viewers. New postmodern elements and ideas, appropriations of various components of the medieval such as vampirism, immortality, sexuality, and shadows, and also intertextuality have all helped in dealing with the care that the film had to charm to a postmodern audience.
We can write an essay on your own custom topics!Check the Price