Transforming a book into a movie is similar to translating the lyrics of a song into another language. In the case of lyrical translation, a synonymous word may not exist or artists may need to substitute certain phrases for the sake of rhythm. These converted lyrics are not inferior to the original; instead, the words are a new interpretation of the previous message. For movie adaptations, filmmakers must make decisions on which aspects of the original can fit into the new creation. Unlike lyrical changes, various factors drive these decisions, including the film’s duration, the novel’s format, or the director’s vision. A notable film adaptation is Nosferatu, a version of Bram Stoker’s Dracula, published in 1897. This novel follows the story of Jonathan and his companions as they attempt to kill the vampire Dracula, while the movie attempts to retell this story. In order to translate Bram Stoker’s Dracula into this silent film for a 1922 German audience, Nosferatu’s production team made changes to the format, characters, and themes.
From …show more content…
As mentioned in the Masterpiece article, “[f]ilm and literature each have their own tools for manipulating narrative structure” (16). Authors do not write books as a potential film project, so movies must utilize different techniques to keep their inspirations while fitting the new format. In Dracula, the characters have long discussions or written monologues, which would be difficult to duplicate in a silent film. Instead, Nosferatu must rely upon action on the screen to drive the plot. For example, Dracula associated Renfield’s portrayal of insane with repeated dialogue, such as “The blood is the life!” (158). Conversely, Knock, the equivalent of Renfield in Nosferatu, is depicted as crazy with his erratic behavior and appearance; for example, before attacking his visitor, Knock swipes mindlessly around the room with a rigid
From …show more content…
As mentioned in the Masterpiece article, “[f]ilm and literature each have their own tools for manipulating narrative structure” (16). Authors do not write books as a potential film project, so movies must utilize different techniques to keep their inspirations while fitting the new format. In Dracula, the characters have long discussions or written monologues, which would be difficult to duplicate in a silent film. Instead, Nosferatu must rely upon action on the screen to drive the plot. For example, Dracula associated Renfield’s portrayal of insane with repeated dialogue, such as “The blood is the life!” (158). Conversely, Knock, the equivalent of Renfield in Nosferatu, is depicted as crazy with his erratic behavior and appearance; for example, before attacking his visitor, Knock swipes mindlessly around the room with a rigid