Surname 1 Name Subject Professor Date An Analysis of Mise-en-Scene in Murnau's Nosferatu German expressionism that sprung in the immediate aftermath of WWII has been heralded to be iconic and peculiar to the German film industry even though critics may have theorized such an inflection in movie production as evolutionary responsive to hard times in post-war Germany. Expression in the German context, occasionally referred to Caligarisme in a French interpretation pointing to the expressionist pioneer works of Robert Wiene (Wallis and Pramaggiore 88; Petrie 76), was rather peculiar in its heydays even though at present it may be modestly profiled as a historical hiccup that spanned a decade at best and spontaneously sublimed in the corridors of film creativity. Critical voice do agree that it failed to match the aesthetic prowess that wafted from Hollywood (Petrie 108). Expressionism however entailed the artistic superimposition of cues and techniques employed in other visual arts for instance painting and dance through choreography as the assimilating channel. Acting would therefore closely follow movement and environmental blending in the same manner that authors and choreographers would assume the audience in question was familiar to imported art techniques. Wiene's Cabinet of Dr. Caligari is often epitomized as the reference yard of German expressionism from its significant importation and subsequent application of paintings as a tool to emancipate the audience on the plot's effect (Whitney 240). The screen thus assumes a canvas from which directors can construct a peculiar mis-en-scene such as overwhelming the audience with omnipresent oppressiveness as is visually tormenting in Murnau's Nosferatu (Wallis and Pramaggiore 88). Mis-en-scene plays out in Nosferatu in a less expressionist way than it is manifested in Cabinet of