#Nosferatu a Venezia

[teresiel]

Pretty Horror for Halloween: Nosferatu a Venezia (1988)

(Part IV)

[nonvaleantredeo]

Hehe a little bit of my work)

This, madame, is "The evolution of vampires on a screen" (with fragments from some films for ex. Nosferatu, Nosferatu a Venezia, IwtV'94, Only lovers left alive)

Love the philosophy of this space - you can do anything: lecture, cinema evening, reading club. For free but guests can leave some money for you and space. I think about philosophical reading club a lot recently maybe I should try to organise it🤔

[adamantula-blog]

Christopher Plummer as Professor Paris Catalano Nosferatu a Venezia (1988)

[cornsword]

Nosferatu a Venezia, aka Nosferatu in Venice, aka Vampire in Venice, is a sequel to the Kinski Nosferatu and has Donald Pleasance doing some great yelling dressed like a priest and Chris Plummer doing some great exposition dressed like Ra’s al Ghul.

[giallofever2]

[yessferatu]

NOSFERATU A VENEZIA (1988), dir. Augusto Caminito

[videomessiah]

[alfredsnightmare]

Prince of the Night / Nosferatu in Venice (Augusto Caminito, 1988) 

[annathesimple]

Entry №1 of the October vampire marathon:  Vampire in Venice (1988, Italy)

 Well, what can i say

It started extremelly interesting for me, and then it turned into a disaster. I initially though it´s gonna be some sort of a philosophycal essay on the weight of immortality or smth, but it was just Italians making their version of Dracula. while keeping all the gross things in... why?? “Why” is an extremely relevant to me question, cause like, they waisted such a good setting.. which was one of the only 2 good things about the whole thing, the other one being ladies.

Yeah, let’s give a shout out to ladies (do exuse the quality, couldn’t find any better) :

Thank you ladies, I am sorry u were given bare minimums of personality crumbs, u deserved better. Now back to ramling about the setting. It felt very.. unusual.Not something u would expect from a movie set in Venice.The caranaval is.. kinda there, but our characters and we as an audience are not in the mids of a festivity. It’s happening somewhere near, we can heart the distant laughter, but we are in a state .. somewhere closer to a dressing room behind a stage where everything from the outside just looks like a game of pretend. Ok, I am gonna explain it in a more understandable way now. The setting can be considered gothic, but to me it felt almost post-apocalyptic: the spleandour of the old days isn’t “alive” any more, the colors, even gold itself, are hashed.. big spacious places..and people, who feel so little inside them.. sounds of squicking, loud footsteps that echo through the halls.. and then you hear seagulls, and the vastness of the sea that comes to your mind just makes already empty space emptier. And it is empty, desolated, despite of how crouded with furniture the rooms may be.. cause they feel like museun exhibitions, not actual rooms where life can happen. Many screenshots just looked like reimagenings of renaissance style paintings:

So yeah, I LIKED THAT VERY MUCH, and so the first part of the movie, before the actual plot started happening, was actually the best

But then.. it all went downhill. so yeah, I am giving it 3/10 and this is solely thanks to the visuals that it’s not even lower. I couldn’t understand what was going on, why were they doing what they were doing. And ofc a 1988 film ended up being sexist, i kinda expected that, but then it just characterized gypsies as spawns of evil and that was when i actually considered just making it look like i have never actually seen this movie, but well, suffer with me, cause I had to vent. They could have improved things with a nice vampire (which is like, the sole reason why I layed my eyes upon this movie at all) but nah, he just made it all worse.

From afar he looks like a vey tied old rock star, and from up close he looks worse, cause.. who was it, who is the one responsible for that idea of placing vampires’ fangs where 2 front teeth should be, like, are they related to rabbits or smth????, I DON’T UNDERSTAND AND I AM PISSED, Fangs: -10/10, Vampire overall: 1/10 

Conclusion: watch it if u are a sucker for a decadence feel and a good seting and can actually ignore what’s going on in the movie besides that.Othervise, do not watch it,  P.S.as a nice bonus they made me think about how funeals look in Venice, cause I have never spared it any thought before

[sinnhelmingr]

MAINS POST.

This is a post to outline those muses/blogs that I am comfortable with and have built enough of an OOC rapport with the mun to reference them as the DEFAULT muse or ship for a setting. PLEASE NOTE THIS IS NOT ME PRACTICING EXCLUSIVITY. I don’t believe in it on my own blogs, and I won’t practice it. Other versions of these muses are welcomed and encouraged to interact with my blog! I will ship Hel with other characters within a verse! It’s just that these specifics takes on the characters have so impacted Hel or shaped a verse that I am shining a spotlight on them as my mains. to the fandom/characters tags i am about to end up in, i am so sorry that tumblr is like this, bear with me, please keep scrolling.

SHIPS:

HEL/ANSEM (KH verse, as played by @andallsoend​)

HEL/GWYNDOLIN (Dark Souls verse, as played by @ryunonendai)

HEL/VICTOR VON DOOM (616 verse, as played by @trushalodji)

HEL/ZODD (Berserk verse, as played by @maledictgaol​)

CHARACTERS:

Ansem (KH verse & Modern, as played by @andallsoend​)

Areban (DnD and myth verse, as played by @monagxrie​)

Armand di Venezia (mythverse, as played by @thyhorrorremains)

Caleb Quinn (DBD verse, as played by @gamblershand​)

Casca (Berserk verse, as played by @maledictgaol​)

Death (any setting, as played by Redd, blog TBA)

Deirdre nic’Dubhshlaine (myth setting, as played by @monagxrie​)

Edmond Dantes (any setting, as played by @bringhelltoyourdoorstep)

Johanna Constantine (mythverse, as played by Redd, blog TBA)

John Constantine (mythverse, as played by @gamblershand​)

Jonathan Sims (TMA verse, as played by @thyhorrorremains)

Kaz Brekker (Grishaverse, as played by @thyhorrorremains​)

Loki (any setting, as played by @loptgangandi)

Luxord (KH and Modern verses, as played by @gamblershand)

Luxu (KH and Modern verses, as played by @nxctividus​)

Matthew Cable (mythverse, asplayed by @versin-surfin​)

Meg Thomspon (DBD verse, as played by @teardownheaven​)

Michael Shelley / The Distortion (TMA verse, as played by @thyhorrorremains)

Nosferatu Zodd (Berserk verse, as played by @maledictgaol​)

[teresiel]

Pretty Horror for Halloween: Nosferatu a Venezia (1988)

(Part VIII)

[fallimentiquotidiani]

Secondo te quali sono alcuni dei film fondamentali da vedere o quelli da cui iniziare se si vuole cominciare ad avere una buona e completa cultura cinematografica?

Non mi permetto di dirti con quali film dovresti iniziare perché non ho le competenze dei professori di cinema con cui ho studiato, ma tu posso amichevolmente consigliare un pugno di film da vedere assolutamente:

Blade Runner

C'era una volta a in America

La sottile Linea Rossa

Apocalipse Now

Il Padrino

I Quattrocento Colpi

Fino all'ultimo respiro

Il Settimo sigillo

Persona

Mullholland Drive

C'era una volta il West

Taxi Driver

Toro Scatenato

2001: Odissea nello Spazio

Quarto Potere

8 e mezzo

Il Cacciatore

I Sette samurai

Tempi moderni

La donna che visse due volte

Rocco e i suoi fratelli

Nosferatu il vampiro

Luci della città

Il posto delle fragole

Viale del tramonto

La finestra sul cortile

Metropolis

Sussurri e grida

Solaris

Lo Specchio

Stalker

Nostalghia

L'eternità e un giorno

Barry Lyndon

Rashomon

Ran

Arancia Meccanica

Il Dottor Stranamore

Uccellacci uccellini

Il Mucchio Selvaggio

Qualcuno volò sul nido del cuculo

Shining

Giù la testa

Viaggio a Tokyo

Morte a Venezia

L'Atlante

La venticinquesima ora

Arca Russa

In the mood for love

Ferro 3 (la casa vuota)

Chinatown

La città incantata

Principessa Mononoke

Nausicaä della Valle del Vento

Akira

Ghost in the Shell

Questi sono SOLO i primi che mi sono venuti in mente, là fuori ci sono capolavori pronti ad essere scoperti e assimilati.

Che questa prima infarinatura ti faccia venire la voglia e la voracità di scoprirli tutti.

Buona visione.

[literarystudies]

From 1902 to 2019: 50 Movies To Watch That Will Impress Your Friends In Film Studies

With the help of some lovely film students in this community, I’ve compiled a list of 50 great movies from the past century (roughly). This is by no means meant to be comprehensive; rather, I wanted to put something together for people like me who are interested in movies but don’t really know where to start — especially when it comes to the “classics”.

Le Voyage Dans La Lune / A Trip To The Moon (1902)

Nosferatu (1922)

Бронено́сец / Battleship Potemkin (1925)

The General (1926)

Metropolis (1927)

It (1927)

The Passion of Joan of Arc (1928)

Человек с кино-аппаратом / A Man with a Movie Camera (1929)

Modern Times (1936)

Citizen Kane (1941)

Casablanca (1942)

Roma Città Aperta / Rome, Open City (1945)

The Stranger (1946)

Ladri di biciclette / Bicycle Thieves (1948)

羅生門 / Rashomon (1950)

The Man Who Watched the Trains Go By (1952)

東京物語 / Tokyo Story (1953)

Wild Strawberries (1957)

Il Dottor Živago / Dr. Zhivago (1958)

Vertigo (1958)

400 blows (1959)

Breathless (1960)

Lawrence of Arabia (1962)

Bonnie and Clyde (1967)

2001: A Space Odyssey (1968)

Morte a Venezia / Death in Venice (1971)

The Godfather I (1972)

Chinatown (1974)

Angst Essen Seele Auf / Fear Eats the Soul (1974)

The Tenant (1976)

Blade Runner (1982)

El Notre / The North (1983)

タンポポ / Tampopo (1985)

Pulp Fiction (1994)

重庆森林 / Chungking Express (1994)

もののけ姫 / Princess Mononoke (1997)

Les Glaneurs et La Glaneuse / The Gleaners and I (2000)

Dogtooth (2009)

Black Swan (2010)

The Social Network (2010)

Ex Machina (2014)

The Big Short (2015)

Arrival (2016)

Moonlight (2016)

Blade Runner 2049 (2017)

Get Out (2017)

I Don’t Feel At Home In This World Anymore (2017)

万引き家族 / Shoplifters (2018)

버닝 / Burning (2018)

I Am Mother (2019)

*Bolded movies are available on Netflix.

*Many of the movies pre-1950s are available on Archive.org, which I’ve linked to where applicable.

*Special thanks to @wagnaer​ @sspacegrrl​ @midgardmaiden​ and @thevirgorabbit  for their expertise and contributions!

*If anyone can find a version of Chungking Express with English subtitles, if something is on Netflix that I missed, or if you just want to argue about the selections, let me know!

[giallofever2]

Divino !!! Original "unused" Art Poster by Renato Casaro for the Movie Nosferatu a Venezia Stars Klaus Kinski & Barbara De Rossi Courtesy by @marzio frei

[yessferatu]

NOSFERATU A VENEZIA (1988), dir. Augusto Caminito

[aion-rsa]

Anya Taylor-Joy and Robert Eggers’ Nosferatu Revives the Strangest Movie Vampire

https://ift.tt/eA8V8J

Dracula is the most prolific character in cinema. Really. According to Guinness World Records, the not-so-good count even beats out Sherlock Holmes as the literary character adapted more than any other. Perhaps that’s why learning Universal Pictures has two new Dracula movies in production barely raises an eyebrow. Yet to hear a new interpretation of the vampire’s original cinematic incarnation is in the works—to hear that Robert Eggers and Anya Taylor-Joy are at last remaking Nosferatu? Well, that’s a corpse of a different pallor… and one that’s eminently more sinister.

Yes, technically speaking, the director and star pair who made The Witch one of the best horror movies of this century are following in the footsteps of the first Dracula movie, F.W. Murnau’s German Expressionist masterpiece, Nosferatu (1922). But they’re also exhuming a legacy more twisted than that. Which provides them a lot of leeway to get weird with archetypal vampires and the ancient spells they cast.

This stems from the fact that Murnau’s Nosferatu is not officially an adaptation of Bram Stoker’s 1897 novel. This detail was the result of a shady attempt by the German filmmakers to get around the novel’s copyright holder, Stoker’s widow Florence Balcombe. The scheme didn’t work. Nonetheless, it allowed Murnau to take what in 25 years had slowly become the definitive vampire yarn and reinterpret it into something infinitely more gruesome.

Released nearly a decade before Bela Lugosi successfully changed the vampire into a figure of sexual desire in Hollywood’s first Dracula adaptation, the silent Nosferatu went in a starkly different direction. The ‘22 film’s Count Orlok, portrayed with an unsettling pitifulness by actor Max Schreck, appeared as more of a walking cadaver than even Stoker’s literary creation. With sunken cheeks and rodent-like teeth, he was the manifestation of disease and pestilence—a decaying rat given human shape, and who brought the literal Black Death with him to Germany.

More abstract than Stoker’s source material, the Expressionistic Nosferatu is a surreal nightmare from which the DNA of all horror cinema can be traced. And while future Dracula movies continued on an increasingly familiar path after Lugosi, the legacy of Count Orlok’s grotesque visage refused to go the same way. In fact, the first Nosferatu remake by writer-director Werner Herzog was even more artful and detached than Murnau’s film. Long cinematic sequences drenched in atmosphere and dread are built around just the image of Klaus Kinski’s vampire sailing down a river.

In ancient folklore, the vampire was neither a creature of desire or great intelligence. It was a wraith; a revenant back from the grave who existed only to leech off the living. Herzog leaned into that idea and found even a macabre serenity in it, recreating Renaissance paintings that lovingly embraced the baroque despair wrought by plagues. One of the film’s best visuals is of rats who traveled with the vampire to Wismar now swarming an outdoor feast’s table. In times of modern pandemic and renewed interest in outdoor dining, such imagery hits all the closer.

Kinski would reimagine this version again in Nosferatu a Venezia (1988), a schlocky Italian pseudo-sequel that moves yet further from traditional vampire storytelling, reinterpreting “Nosferatu” (as he’s now simply referred to in that film) as a creature of comfort; a demon lover who frees his prey from the dreariness of this mortal coil and the constraints of their youth.

That Robert Eggers of The Witch and The Lighthouse fame is going to add his own distinct flavoring to this legacy is genuinely intriguing. As a filmmaker compelled to unearth the historical roots and wellsprings of our culture’s collective nightmares, Eggers will be liberated by the simple title “Nosfertau” to bypass a hundred years worth of Dracula, Anne Rice, Twilight movies, to name but a few. It’s worth remembering that the original 1922 Nosferatu already has its feet more firmly rooted in the 19th than 20th century. Still, revisiting a legacy with two horror masterpieces to its name is risky. Eggers told us as much in 2019 when we asked him about whether he was still moving ahead with a Nosferatu remake then.

“I spent so many years and so much time, just so much blood on it, yeah, it would be a real shame if [Nosferatu] never happened,” Eggers said at the time. “But also, I don’t know, maybe Nosferatu doesn’t need to be made again, even though I’ve spent so much time on that.”

Apparently, Eggers couldn’t let the project go, even as his and frequent muse Anya Taylor-Joy’s profiles continued to rise. Indeed, Eggers’ The Lighthouse won several Independent Spirit Awards, including for Willem Dafoe’s performance and cinematography. Meanwhile Taylor-Joy’s career has skyrocketed in recent years thanks to roles in Emma. and The Queen’s Gambit, and with the coup of being cast as a young Furiosa in filmmaker George Miller’s upcoming Mad Max: Fury Road prequel. Yet she and Eggers appear drawn to the same spirits, having already reteamed for next year’s Viking drama, The Northman. And it was Taylor-Joy who revealed this week to The Los Angeles Times that she and Eggers are prepping their third collaboration: Nosferatu.

Which raises the question of what Eggers and Taylor-Joy might bring to the material. Likely it’d be something as rooted in ancient vampire lore as the witchy authenticity of their first film, and the nautical superstitions in The Lighthouse… but also perhaps something that can justify a third major interpretation of such a storied title. A Countess Orlok, perhaps? It’s easy to imagine both parties sinking their teeth into that kind of interpretation…

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