1. Elsaesser,
Weimar Cinema, p. 235.
2. Gunning, ‘To Scan a Ghost’,
Grey Room, 2007, p. 97.
3. Rhodes, ‘Drakula Halla’,
Horror Studies, pp. 25–47.
4. Weitz,
Weimar Germany, p. 28.
5. Weitz,
Weimar Germany, p. 207.
6. Roberts,
German Expressionist Cinema, p. 3.
7. Dalle Vacche,
Cinema and Painting, p. 167.
8. Thompson,
Eisenstein’s Ivan the Terrible, p. 173.
9. Grau,
Vampires, Eureka DVD booklet, pp. 59–60.
10. Grau,
Vampires, Eureka DVD booklet, p. 61.
11. Borst,
Graven Images, p. 16–7.
12. Skal,
Hollywood Gothic, p. 83.
13. Eisner,
Murnau, p. 227.
14. Eisner,
Haunted Screen, p. 101.
15. Eisner,
Haunted Screen, p. 102.
16. Eisner,
Murnau, pp. 13–4.
17. Shepard,
Nosferatu in Love, p. 71.
18. Elsaesser,
Weimar Cinema, p. 226.
19. Grau,
Buhne und Film, 1921, no. 21.
23. Quoted in Skal,
Hollywood Gothic, p. 83.
24. Skal,
Hollywood Gothic, p. 89.
25. Skal,
Hollywood Gothic, p. 97.
26. Tropp,
Images of Fear, p. 134.
27. Stoker,
Dracula, p. 334.
28. Brennan, ‘Repression, Knowledge, and Saving Souls: the Role of the ‘New Woman’ in Stoker’s
Dracula and Murnau’s
Nosferatu’,
Studies in the Humanities, 1992, p. 2.
29. Stoker,
Dracula, pp. 44–5.
30. Ashbury,
Nosferatu, p. 22.
31. Billson,
Gothic, p. 10.
32. Leatherdale,
Dracula, p. 121.
33. Stoker,
Dracula, p. 306.
34. Stoker,
Dracula, p. 307.
35. Stoker,
Dracula, p. 311.
36. Stoker,
Dracula, p. 313.
37. Ashbury,
Nosferatu, p. 17.
38. Carroll,
Philosophy of Horror, p. 99.
39. Eisner,
Murnau, p. 236.
40. Jackson,
Nosferatu, p. 52.
41. ‘19a Hyena. 19b Horses, panicking’.
42. On a more light-hearted side note, this also starts a tradition of incongruously out of context animals inhabiting the vampire’s castle that is reiterated in Tod Browning’s adaptation of 1931 where a couple of armadillos and a tiny bee provided with a custom-made coffin roam the grounds of Dracula’s dwelling.
43. Carroll,
Philosophy of Horror, p. 100.
44. Keller,
The Bridge, Eureka DVD booklet, p. 77.
45. Eisner,
Murnau, p. 242.
46. Eisner,
Murnau, p. 242.
48. Jackson,
Nosferatu, p. 55.
49. Stoker,
Dracula, p. 35.
50. Eisner,
Murnau, p. 243.
51. Eisner,
Murnau, p. 243.
52. Eisner,
Murnau, p. 244.
53. Jackson,
Nosferatu, p. 62.
54. Eisner,
Murnau, p. 245.
55. Eisner,
Murnau, p. 246.
56. Eisner,
Murnau, p. 247.
57. Carroll,
Philosophy of Horror, p. 100.
58. Eisner,
Murnau, p. 248.
59. Eisner, Murnau, p. 249
60. Jackson,
Nosferatu, p. 71.
61. Gunning, ‘To Scan a Ghost’,
Grey Room, 2007, p. 95.
62. Eisner,
Murnau, p. 252.
63. Eisner,
Murnau, p. 254.
64. Eisner,
Murnau, p. 255.
65. Skal,
Hollywood Gothic, p. 86.
66. Eisner,
Murnau, p. 256.
67. Jackson,
Nosferatu, p. 77.
68. Eisner,
Murnau, p. 258.
69. Eisner,
Murnau, p. 259.
70. Eisner,
Murnau, p. 263.
71. Eisner,
Murnau, p. 264.
72. Carroll,
Philosophy of Horror, p. 101.
73. Eisner,
Murnau, p. 264.
74. Eisner,
Murnau, p. 265.
75. Stoker,
Dracula, p. 339.
76. Eisner,
Murnau, p. 269.
77. Jackson,
Nosferatu, p. 93.
78. Eisner,
Haunted Screen, p. 97.
79. Guillermo, ‘Shadow and Substance’,
Sight and Sound, 1967, 36, p. 153.
80. Astruc, ‘Fire and ice’,
Cahiers du cinema in English, 1966, 1, p. 71.
81. Gelder,
Reading the Vampire, p. 95.
82. Rhode,
History of the Cinema, p. 183.
83. Eisner,
Murnau, pp. 85–6.
84. Murnau, ‘Films of the Future’,
McCall’s Magazine, 1928, p. 90.
85. Guillermo, ‘Murnau’,
Film Comment, 1971, 7, p. 13.
86. Murnau, ‘Films of the Future’,
McCall’s Magazine, 1928, p. 90.
87. Luckhurst,
The Shining, 2013, p. 10.
88. Dalle Vacche,
Cinema and Painting, p. 165.
89. Eisenstein, ‘The Montage of Attractions’ (1923), in Taylor,
The Eisenstein Reader, 2009, p. 30.
91. Robert Desnos, ‘Nosferatu le Vampire’,
Le Soir, 1927, p. 12.
92. Kracauer,
From Caligari to Hitler, p. 107.
93. Kracauer,
From Caligari to Hitler, p. 77.
94. Weitz,
Weimar Germany, p. 321.
95. Eisner,
Murnau, p. 18.
96. Kaes,
Shell Shock Cinema: Weimar Culture and the Wounds of War, 2011.
97. Kaes,
Shell Shock Cinema, p. 88.
98. Collier,
From Wagner to Murnau. The Transposition of Romanticism from Stage to Screen, 1988.
99. Collier,
From Wagner to Murnau, p. 110.
100.Stümke, ‘The Persecution of Homosexuals in Nazi Germany’ in Burleigh (ed.),
Confronting the Nazi Past, 1996, pp. 154–5.
101.Paragraph 175 was entirely revoked from German law only in 1994.
102.Benshoff,
Monsters in the Closet, p. 1.
103.Elsaesser,
Weimar Cinema, p. 25.
104.Eisner,
Haunted Screen, p. 100.
105.Eisner,
Haunted Screen, p. 98.
106.Elsaesser,
Weimar Cinema, p. 3.
107.Stoker,
Dracula, p. 31.
108.Prawer,
Nosferatu, p. 57 and Jackson,
Nosferatu, p. 111.
109.Prawer,
Nosferatu, p. 58.
110.Kyrou quoted in Elsaesser, ‘No End to
Nosferatu’, p. 19.
111.Wehner,
Who Wrote That, p. 34.
112.Vertov,
The Council of the Three, p. 17.
113.Weinstock,
Vampire Film, p. 87.
114.Tennyson,
Tithonus, vv. 18–23.
115.Elsaesser,
No End to Nosferatu, p. 23.