Editing Nosferatu (section)

==Production==
[[File:Prana-Film 1.jpg|thumb|upright=0.7|Prana Film logo]]

The studio behind ''Nosferatu'', Prana Film, was a short-lived [[Silent film|silent]]-era German [[film studio]] founded in 1921 by Enrico Dieckmann and occultist artist [[Albin Grau]],<ref name=BrentonFilm/> named after a [[Theosophy|Theosophical]] journal which was itself named for the [[Hindu]] concept of {{lang|sa-Latn|[[prana]]}} (life force).<ref name=":0" /> Although the studio's intent was to produce [[occult]]- and [[supernatural]]-themed films, ''Nosferatu'' was its only production,<ref>{{cite journal|last=Elsaesser|first=Thomas|title=Six Degrees Of Nosferatu|journal=Sight and Sound|date=February 2001|url=http://old.bfi.org.uk/sightandsound/feature/92|access-date=31 May 2013|issn=0037-4806|archive-url=https://web.archive.org/web/20131210223826/http://old.bfi.org.uk/sightandsound/feature/92|archive-date=10 December 2013|url-status=dead}}</ref> as it declared [[bankruptcy]] shortly after the film's release.

{{multiple image
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 | image1 = Nosferatu poster (Albin Grau, 1922) 3.jpg
 | image2 = Nosferatu poster (Albin Grau, 1922) 2.png
 | footer = Original promotional art by [[Albin Grau]]
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Grau claimed he was inspired to shoot a vampire film by a war experience: in Grau's [[apocrypha]]l tale, during the winter of 1916, a [[Kingdom of Serbia|Serbian]] farmer told him that his father was a vampire and one of the [[Undeath|undead]].<ref>{{citation |first=Christiane |last=Mückenberger |editor1-first=Günther |editor1-last=Dahlke |editor2-first=Günter |editor2-last=Karl |chapter=Nosferatu |title=Deutsche Spielfilme von den Anfängen bis 1933 |publisher=Henschel Verlag |location=Berlin |date=1993 |isbn=3-89487-009-5 |page=71 |language=de}}</ref> As a lifelong student of the occult and member of {{lang|la|[[Fraternitas Saturni]]}}, under the magical name of Master Pacitius, Grau was able to imbue Nosferatu with [[Hermeticism|hermetic]] and mystical undertones. One example in particular was the cryptic contract that Count Orlok and Knock exchanged, which was filled in [[Enochian]], hermetic and [[Alchemy|alchemical]] symbols. Grau was also a strong influence on Orlok's verminous and emaciated look<ref>Tobias Churton. ''The Beast in Berlin: Art, Sex and Magick in the Weimar Republic''. Rochester, VT: Inner Traditions,2014, p. 68</ref> and he also designed the film's sets, costumes, make-up and the letter with the Enochian symbols. He also was responsible for film's advertising campaign, creating movie posters and advertisements. Grau's visual style was also deeply influenced by work of the artist Hugo Steiner-Prag who had illustrated other texts with esoteric subjects, such as [[Gustav Meyrink]]’s ''[[The Golem (Meyrink novel)|Golem]]'' and [[E. T. A. Hoffmann]]’s {{lang|de|[[The Devil's Elixirs|Die Elixiere des Teufels]]}} (1907).<ref name="Silent Screen 2023 p.184">''Vampires on the Silent Screen: Cinema’s First Age of Vampires 1897–1922'' (2023) by David Annwn Jones, p. 184</ref>

[[File:Bundesarchiv Bild 183-J0710-0303-004, Wismar, Heiliggeistkirche.jpg|thumb|left|upright=1.2|Hutter's departure from Wisburg was filmed in the yard of {{Ill|Heiligen-Geist-Kirche, Wismar|lt=Heiligen-Geist-Kirche|de|Heiligen-Geist-Kirche (Wismar)}} in [[Wismar]]. (1970 photograph)]]

Diekmann and Grau gave [[Henrik Galeen]], a disciple of [[Hanns Heinz Ewers]], the task to write a screenplay inspired by the ''Dracula'' novel, although Prana Film had not obtained the [[film rights]]. Galeen was an experienced specialist in [[dark romanticism]]; he had already worked on ''[[The Student of Prague (1913 film)|The Student of Prague]]'' (1913), and the screenplay for ''[[The Golem: How He Came into the World]]'' (1920). Galeen set the story in the fictional north German harbour town of Wisburg. He changed the characters' names and added the idea of the vampire bringing the plague to Wisburg via rats on the ship. Galeen's [[German Expressionism (cinema)|Expressionist style]] screenplay was poetically rhythmic, without being so dismembered as other books influenced by [[expressionism in literature|literary Expressionism]], such as those by [[Carl Mayer]]. [[Lotte Eisner]] described Galeen's screenplay as "{{lang|de|voll Poesie, voll Rhythmus}}" ("full of poetry, full of rhythm").<ref name="Eisner67-27">[[#Eisner67|Eisner 1967 page 27]]</ref><!-- to add: Dieckmann and Grau get director Murnau; Grau does art direction, sets and costume; music by Hans Erdmann; lead the unknown Max Schreck; other cast from actors schooled by Max Reinhardt ... -->

[[File:HL Damals – Johannes Maass – Salzspeicher.jpg|thumb|left|upright=1.2|The {{lang|de|[[Salzspeicher]]|italic=no}} in [[Lübeck]] served as the set for Orlok's manor in Wisburg.]]

Actor [[Conrad Veidt]] was offered the role of Count Orlok, having previously worked with Murnau, but had to decline for scheduling reasons. In the search for an alternative the choice finally fell on the then-still-unknown actor [[Max Schreck]].<ref>{{cite book |title=Conrad Veidt, Demon of the Silver Screen: His Life and Works in Context |date=2023 |author=Sabine Schwientek |page=63 }}</ref>

Filming began in July 1921, with exterior [[shot (filmmaking)|shot]]s in [[Wismar]]. A [[take]] from {{lang|de|Marienkirche|italic=no}}'s tower over Wismar marketplace with the {{ill|Wasserkunst Wismar|de}} served as the [[establishing shot]] for the Wisburg scene. Other locations were the {{ill|Wismar Wassertor|de|Wassertor (Wismar)|lt=Wassertor}}, the {{lang|de|Heiligen-Geist-Kirche|italic=no}} yard and the harbour. In [[Lübeck]], the abandoned {{lang|de|[[Salzspeicher]]|italic=no}} served as Nosferatu's new Wisburg manor, the one of the churchyard of the {{lang|de|[[Aegidienkirche (Lübeck)|Aegidienkirche]]|italic=no}} served as Hutter's, and down the {{lang|de|Depenau|italic=no}} a procession of coffin bearers bore [[coffin]]s of supposed plague victims. Many scenes of Lübeck appear in the hunt for Knock, who ordered Hutter in the ''Yard of {{lang|de|Füchting|italic=unset}}'' to meet Count Orlok. Further exterior shots followed in [[Lauenburg/Elbe|Lauenburg]], [[Rostock]] and on [[Sylt]]. The exteriors of the film set in [[Transylvania]] were actually shot on location in northern [[Slovakia]], including the [[High Tatras]], [[Vrátna dolina]], [[Orava Castle]], the [[Váh]] River, and {{interlanguage link|Starý Castle|sk|Starý hrad (hrad)}}.<ref>{{cite web |url=http://www.pitt.edu/~votruba/sstopics/movieclips/slovakianosferatulocations.html |title=Nosferatu (1922) Slovak Locations |last=Votruba |first=Martin |work=Slovak Studies Program |publisher=University of Pittsburgh}}</ref> The team filmed interior shots at the [[Johannisthal Studios|JOFA studio]] in Berlin's [[Johannisthal (Berlin)|Johannisthal]] locality and further exteriors in the [[Tegel]] Forest.<ref name=BrentonFilm />

{{multiple image
 | align = right
 | total_width = 300
 | image1 = Wismar, Mecklenburg-Vorpommern - Wassertor (Zeno Ansichtskarten).jpg
 | image2 = Wismar, Mecklenburg-Vorpommern - Marktplatz (Zeno Ansichtskarten).jpg
 | footer = The {{ill|Wismar Wassertor|de|Wassertor (Wismar)}} (left, 1907) and the {{ill|Wasserkunst Wismar|de|lt=Wismar Wasserkunst}} (right, {{Circa|1909}})
}}
[[File:Starhrad.jpg|thumb|Starý hrad castle ruins as Orlok's destroyed castle at the end of the film]]
For cost reasons, cameraman [[Fritz Arno Wagner]] only had one camera available, and therefore there was only one original negative.<ref>[[#Prinzler|Prinzler page 222]]: Luciano Berriatúa and Camille Blot in section: {{lang|de|Zur Überlieferung der Filme}}. Then it was usual to use at least two cameras in parallel to maximize the number of copies for distribution. One negative would serve for local use and another for foreign distribution.</ref> The director followed Galeen's screenplay carefully, following handwritten instructions on camera positioning, lighting, and related matters.<ref name="Eisner67-27"/> Nevertheless, Murnau completely rewrote 12 pages of the script, as Galeen's text was missing from the director's working script. This concerned the last scene of the film, in which Ellen sacrifices herself and the vampire dies in the first rays of the sun.<ref>[[#Eisner67|Eisner 1967 page 28]] Since vampires dying in daylight appears neither in Stoker's work nor in Galeen's script, this concept has been solely attributed to Murnau.</ref><ref>{{citation |author=Michael Koller |date=July 2000 |title=Nosferatu |url=http://archive.sensesofcinema.com/contents/cteq/00/8/nosferatu.html |work=Issue 8, July–Aug 2000 |publisher=Senses of Cinema |access-date=23 April 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090705132857/http://archive.sensesofcinema.com/contents/cteq/00/8/nosferatu.html |archive-date=5 July 2009}}</ref> Murnau prepared carefully; there were sketches that were to correspond exactly to each filmed scene, and he used a [[metronome]] to control the pace of the acting.<ref>[[#Grafe|Grafe page 117]]</ref> 

The films traveled to English speaking countries and film production companies who received the original German or translations of translations would have to splice in their own English intertitles. Decades later, there were multiple restoration projects to save the degrading footage. An example of the accumulating difficulties is summarized by Brent Reid of silent film website Brenton Film: 

{{blockquote|
The first decent quality, widely distributed copy of the MoMA (New York Museum of Modern Art) print came courtesy of German distributors Atlas Film in 1965. They legitimately acquired their own print directly from MoMA and as well as retaining its English intertitles, translated them yet again, back into both German and French. In case you’ve lost track, that means at minimum, they’d now gone from original German–Czech–German–French–English to German and French, with each step being a translation of the one before. Incroyable.<ref>{{cite web |last1=Reid |first1=Brent |title=Nosferatu: History and Home Video Guide, Part 3 |url=https://www.brentonfilm.com/nosferatu-history-and-home-video-guide-part-3 |website=brentonfilm.com|date=7 June 2018 }}</ref>}} 

In the Inn scene, the title of the bedside book that Hutter briefly flips through in the German language film versions is "von Vampyren Erschröfflichten Geistern Zaubereien und Den Sieben Todsünden", which according to Google Translate is "of Vampires, Terrifying Spirits, Sorcery and the Seven Deadly Sins"... except it had trouble recognizing Erschröfflichten, and there appears to be no other online reference to the word. Review of some of the many film copies available online resulted in some of the variations listed below. 

Of Vampyres Gastlie Spirits, Bewitchments and the Seven Deadlie Sins

Of Vampires, Mounstrous Ghosts, Sorcery and the Seven Deadly Sins 

Of Vampyres, Terrible Phantoms, Magicke and The Seven Deadly Sins 

Of Vampires, Terrible Ghosts, Magic and The Seven Deadly Sins

Of Vampyres Terrible Phantoms and The Seven Deadly Sins 

Le Livre des Vampires (French for The Book of the Vampires)

The Book of the Vampires (for other English versions as well)

The opening intertitle provides a brief introduction as an excerpt from a book in the German version titled "Aufzeichnung über das große Sterben in Wisborg anno Domini 1838 von" that Google translates as, "Record of the Great Death in Wisborg anno Domini 1838 by". The title ends with the preposition "by" then the first page or chapter of the book is titled "Nosferatu" as if to also complete the cover title. The intro book English translation titles that were actually used included, 

A Chronicle of the Great Death in Wisborg anno Domini 1838 by

A Chronicle of the Great Plague in Wisborg Anno Domini 1838 

An Account of the Great Death in Wisborg anno Domini 1838

The next page, titled Nosferatu, associates the sound of the word with the call of the deathbird, death bird, or Bird of Death and writes of not saying the word aloud or, "haunting dreams will feed on your blood".  And then this entirely different version intro book title, 

From the diary of Johann Cavallius, able historian of his native city of Bremen 

And addressed here by Brent Reid: 

{{blockquote|
Nosferatu’s many versions and restorations are particularly notable for their plethora of distinct intertitles, which largely reflect the epistolic nature of Stoker’s novel. Now, throughout this series of articles, they’re all detailed and illustrated for the first time. To represent them, I’ve chosen perhaps the single most memorable one – and my favourite. It’s the first page of the unknown narrator’s journal, which appears just after the opening credits. Note that the corresponding intertitle from MoMA’s 1947 print, and the translations it spawned, uniquely conflate the first two original German titles, and he is identified as "Johann Cavallius".<ref>{{cite web |last1=Reid |first1=Brent |title=Nosferatu: History and Home Video Guide, Part 3 |url=https://www.brentonfilm.com/nosferatu-history-and-home-video-guide-part-3 |website=brentonfilm.com|date=7 June 2018 }}</ref>}}

The MoMA 1981 restoration used a good condition B&W French print. The French intertitles were the source of the diary author's name Johann Carvallius or Cavallius and also the changing of character names from the original German film to the Bram Stoker Dracula book character names.<ref>{{cite web |last1=Reid |first1=Brent |title=Nosferatu: History and Home Video Guide, Part 3 |url=https://www.brentonfilm.com/nosferatu-history-and-home-video-guide-part-3 |website=brentonfilm.com|date=7 June 2018 }}</ref><ref>{{cite web |last1=Reid |first1=Brent |title=Nosferatu: Chronicles from the Vaults |url=https://www.brentonfilm.com/nosferatu-chronicles-from-the-vaults |website=Brenton Film|date=2 December 2016 }}</ref>