Master of Arts / Department of Modern Languages / Benjamin Torrico / This thesis analyses the play Nosferatu by the contemporary Spanish author Francisco Nieva, and more specifically focuses on its genesis in silent film, primarily German Expressionist. First we take a look at the genre and style of the work itself, followed by a history of the vampire in literature and film. After a brief summary of the play, we begin to focus on the films, first discussing how Nieva came into contact with them in France through the cinémathèques. What follows is a detailed study of the films, with summaries, analysis of themes, and finally a comparison to Nosferatu, looking at the elements of the play that each film directly influenced.

[EN] This research project is based on the study of the German expressionist art movement, its history and its historical and artistic context, focusing on the graphic art and posters. In this work we will analyze the language of posters and its history in the period covered by the first two decades of the twentieth century, specifying our study in movie posters and the posters in German expressionism. Thus, we will focus our research on which we consider three of the most representative German expressionist cinema films: the Cabinet of Dr. Caligari, Nosferatu and Metropolis; in order both to relate two fundamental aspects of the expressionist movement: graphic art and films, as well as demonstrate the influence of German Expressionism and other Vanguards in the design of the original posters of these three films. In this way, we will also analyze the formal and stylistic components and aspects of these posters such as typography, composition, colour or technique. We will also investigate the different movie posters which were designed for other countries during this period. We will also devote a section to the design of other advertising that was made of these films, such as hand programs, postcards, catalogs, etc. With all this, we will mainly show the influence of expressionism and also other artistic movements, specially the avant-garde, in three fundamental movement movie posters, as well as clear enough some questions about which movie posters are real and which are not. We will also investigate the amount of images that circulate in different media, especially the Internet, where you can confuse movie posters with the designs made for hand programs or ads, and it makes no difference between posters which belonged to the premieres of the films and posters of more current designs, being their authorship totally unclear, going for it to more reliable sources like books or museums. Then, the work will be completed with a personal artistic interpretation of the movie posters, a series of works made with the technique of lithography on the Cabinet of Dr. Caligari, Nosferatu and Metropolis. Finally, we will present three annexes that revolve around the theme: the first one dealing with other poster designs that have been made in more contemporary times (from the 1960s to the present day), the second one complementing the last phase of our task, taking into account our personal interpretation of the posters along with other personal artistic work carried out with other printmaking techniques, and in a final Appendix we will present a digital design of the corporate image of an imaginary Metropolis cinema. / [ES] El proyecto de investigación parte del estudio del movimiento artístico expresionista alemán, sus antecedentes y su contexto histórico-artístico, centrándose en la obra gráfica y el cartel. En este trabajo analizamos el lenguaje del cartel y su historia en el período que abarca las dos primeras décadas del siglo XX, concretando nuestro estudio en el cartel de cine y el cartel en el expresionismo alemán. Así, concentramos principalmente nuestra investigación en las que consideramos tres de las películas más representativas del cine expresionista alemán: El Gabinete del Dr. Caligari, Nosferatu y Metrópolis; con el fin tanto de relacionar dos aspectos fundamentales del movimiento expresionista: obra gráfica y cine, como de demostrar la influencia del expresionismo alemán y otras vanguardias en el diseño de los carteles originales de estas tres películas. Analizamos de esta manera los componentes formales y estilísticos y diversos aspectos de dichos carteles tales como la tipografía, la composición, el color o la técnica. Por otra parte también investigamos los carteles que de estas películas se diseñaron para otros países durante este período. Dedicamos también un apartado al diseño de otra publicidad que se hizo de estos filmes, como los programas de mano, postales, catálogos, etc. Con todo ello pretendemos demostrar fundamentalmente la influencia del expresionismo en particular y de otros movimientos artísticos, especialmente de las vanguardias, en los carteles de cine de tres películas fundamentales del movimiento, así como despejar bastantes incógnitas sobre lo que son carteles de cine y lo que no lo son, dentro de la cantidad de imágenes que circulan por diversos medios, sobre todo Internet, donde se contemplan como carteles de las películas a diseños realizados para el programa de mano o anuncios y no se hace diferencia entre carteles que pertenecieron a los estrenos de las películas o carteles de diseños más actuales, no quedando clara tampoco la autoría de estos diseños, acudiendo nosotros para ello a fuentes más fiables como libros o museos. Para finalizar, el trabajo se completará con una interpretación artística personal de los carteles de las películas, una serie de trabajos hechos con la técnica de la litografía sobre El Gabinete del Dr. Caligari, Nosferatu y Metrópolis. Por último, se presentan tres anexos que giran alrededor del tema, uno trata sobre otros diseños de los carteles que se han llevado a cabo en épocas más contemporáneas (desde los años 60 hasta nuestros días), otro complementa la última fase del trabajo sobre nuestra interpretación personal de los carteles con otros trabajos artísticos personales realizados con otras técnicas de grabado, y en un último anexo presentamos un diseño digital de la imagen corporativa de un imaginario cine Metrópolis. / [CAT] El projecte d'investigació parteix de l'estudi del moviment artístic expressionista alemany, els seus antecedents i el seu context històric-artístic, centrant-se en l'obra gràfica i el cartell. En aquest treball analitzem el llenguatge del cartell i la seva història en el període que abasta les dues primeres dècades del segle XX, concretant el nostre estudi en el cartell de cinema i el cartell en l'expressionisme alemany. Així, concentrem principalment la nostra recerca en les que considerem tres de les pel·lícules més representatives del cinema expressionista alemany: El Gabinet del Dr. Caligari, Nosferatu i Metròpolis; amb la finalitat tant de relacionar dos aspectes fonamentals del moviment expressionista: obra gràfica i cinema, com de demostrar la influència de l'expressionisme alemany i altres avantguardes en el disseny dels cartells originals d'aquestes tres pel·lícules. Analitzem d'aquesta manera els components formals i estilístics i diversos aspectes d'aquests cartells com ara la tipografia, la composició, el color o la tècnica. D'altra banda també vam investigar els cartells que d'aquestes pel·lícules es van dissenyar per a altres països durant aquest període. Dediquem també un apartat al disseny d'una altra publicitat que es va fer d'aquests films, com els programes de mà, postals, catàlegs, etc. Amb tot això pretenem demostrar fonamentalment la influència de l'expressionisme en particular i d'altres moviments artístics, especialment de les avantguardes, en els cartells de cinema de tres pel·lícules fonamentals del moviment, així com aclarir bastants incògnites sobre el que són cartells de cinema i el que no ho són, dins de la quantitat d'imatges que circulen per diversos mitjans, sobretot Internet, on es contemplen com cartells de les pel·lícules a dissenys realitzats per al programa de mà o anuncis i no es fa diferència entre cartells que van pertànyer a les estrenes de les pel·lícules o cartells de dissenys més actuals, no quedant clara tampoc l'autoria d'aquests dissenys, acudint nosaltres per a això a fonts més fiables com llibres o museus. Per finalitzar, el treball es completarà amb una interpretació artística personal dels cartells de les pel·lícules, una sèrie de treballs fets amb la tècnica de la litografia sobre El Gabinet del Dr. Caligari, Nosferatu i Metròpolis. Finalment, es presenten tres annexos que giren al voltant del tema, un tracta sobre altres dissenys dels cartells que s'han dut a terme en èpoques més contemporànies (des dels anys 60 fins als nostres dies), un altre complementa l'última fase del treball sobre la nostra interpretació personal dels cartells amb altres treballs artístics personals realitzats amb altres tècniques de gravat, i en un darrer annex presentem un disseny digital de la imatge corporativa d'un imaginari cinema Metròpolis. / Roglá Giménez, MDC. (2016). NOSFERATU, EL GABINETE DEL DR. CALIGARI, METRÓPOLIS. Tres películas míticas del expresionismo alemán. Sus carteles: análisis e influencias [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61954 / TESIS

The master thesis analyses and compares the main characters of three significant works concerning the Dracula theme. It provides a comparison of Bram Stoker's Dracula and its film adaptations, namely Nosferatu - Die Symphonie des Grauens (1922) directed by F. W. Murnaua and Dracula (1992) by F. F. Coppola. The work contrasts the interpretation of a vampire through the character of Dracula, analyses and maps the evolution of female characters in regard to the rules and expectations of society and examines the role of the two most distinct male characters of the story, A. Van Helsing and R. M. Renfield. The three introductory chapters are dedicated to the authors of the works concerned and to the novel and its adaptations, i.e. it describes the circumstances of their conception and their content. The Bram Stoker chapter also comprises a brief characterization and an overview of the gothic novel, the section handling the Nosferatu movie provides a subchapter on expressionist film and the chapter on the work of F. F. Coppola is supplemented with a short outline of the notion of a vampire in pop culture of the 20th century. The first chapter of the comparative analysis concerns the comparison of Dracula character in the novel and its two film adaptations based on the narratological theory of Bohumil...

Dracula is a narrative that has risen above its own origins, having been translated and adapted across mediums it has inundated culture with vampires. However, with each adaptation the narrative and characters adapt into something new. This study is interested in the mechanism behind this evolution and argues that memes and, and their interpretations, are largely responsible for these shifts across adaptations. Three memes, in particular, tend to be adapted in films of Dracula. They include Dracula's appearance, Mina's empowerment, and the nature of the bite that they share. This analysis covers how these memes functioned in Stoker's original novel and how they adapted in the films Nosferatu (1922) and Dracula (1979) to reflect the developing culture norms regarding sexuality.

[pt] Este trabalho se propõe a estudar o diálogo entre elementos da cultura romântica expressos no filme Nosferatu, de Friedrich Wilhelm Murnau - sem deixar de lado as influências do movimento Expressionista e do contexto sóciocultural da Alemanha pós-guerra, partindo da observação do historiador Robert Gerwarth (2006) acerca da predominância dos estudos culturais e históricos que ligam os acontecimentos da República de Weimar (1918-1933) ao passado imediato da Grande Guerra, obliterando influências anteriores a ela, e também levando em conta a tese de Rosenblum (1975) que aponta a existência de uma tradição romântica nórdica. / [en] Considering the ideas of the historian Robert Gerwarth (2006) concerning the predominance of the cultural and historical studies that bind the events of the Republic of Weimar (1918-1933) to the immediate past of the Great War, obliterating previous influences on this period, and also taking in account the thesis of Rosenblum (1975) that points to the existence of a Romantic northern tradition, this work intends to study the dialogue between elements of the Romantic culture expressed in Friedrich Wilhelm Murnau´s Nosferatu film - without leaving aside the influences of the Expressionist movement and the sociocultural context of Germany´s postwar period.

This thesis explores the representation of prostitution in German Weimar films between 1919 and 1933. It theorizes that prostitutes are illustrated through characters who are public women. The women who step out of their homes to enter public, or who are somehow introduced to strangers without leaving their homes are public women. The public women in these films, as public women living in Germany, were in danger of being identified as prostitutes and becoming prostitutes. A woman’s public position made her vulnerable to the male sexualized gaze. The male sexualized gaze ultimately led to a woman’s prostitution. The thesis analyzes 4 films to demonstrate woman’s depiction as a prostitute. The first film, Nosferatu, depicts a seemingly virtuous woman whose husband begins to prostitute her, but ultimately she prostitutes herself in exchange for the service of a supernatural law. The film symbolically discusses social issues regarding prostitution, family life, and venereal disease. The second film, Metropolis, protects its public female character from the sexualized gaze with religion and motherhood at the beginning of the film. However, as the film progresses the main character, Maria, is unwillingly prostituted by the head of the society in exchange for a robot that looks like her. The robot employs the male sexualized gaze and her position as a prostitute to overturn society as a vagina dentata. The third and fourth films are The Blue Angel and Variety respectively. Both of these films depict women in public positions who use their sexuality for gain. These women prostitute themselves. They are not victims as Maria and Ellen are in the two previous films. The women in this chapter use their sexuality and prostitution as a way to attain agency. The women in these films I label as vagina dentata because they purposefully destroy men for their own gain. These women use public sexuality to find and engage their male prey as patrons before they emasculate them. The thesis views the women of Weimar films differently than other scholars have by making her the focus of the film and interpreting her public exposure as her gateway to prostitution.

Since its entry into the literary field in the late eighteenth century, the vampire has seen many permutations, ranging from the truly monstrous to the present-day seductive stranger. The creature’s mutability stems from its liminal placement, hovering as it does between life and death. In exploring the figure of the vampire within the Germanic tradition, two works separated not only by medium, but also by nearly a century of time, emerged as the focus of this thesis: Ludwig Tieck’s Romantic Kunstmärchen “Der Runenberg” and Friedrich Wilhelm Murnau’s Expressionist film Nosferatu: Eine Symphonie des Grauens. Superficially, this link appears tenuous, but in analyzing Tieck’s fairy tale and Murnau’s neo-Romantic film several thematic connections emerge. Both works contain a complex and fluid depiction of gender, a narrative of infection, and a vampire that is an embodiment and corruption of nature. Using a syntagmatic approach, this thesis explores the similarities between the two works, as well as the differences, with a focus on the element of vampiric nature and the representations of gender. / Graduate