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This is my Master's Degree project. The idea behind this piece derives from a deep interest in folklore which has been with me since childhood. I used to be terrified but fascinated by the features of reality that exist beyond the physical world and our senses. Over time, my curiosity only grew, so I started peeking behind those scary curtains. One of the topics I have researched is the phenomena of the cultural reality of rural village communities. Within these communities, another parallel world has emerged which, by the power of collective imagination resists and adapts to modern belief systems and culture.
As I delved deeper, I explored various featured films and documentaries about demonic folklore and soon found myself in the German Expressionist era in front of one of the first pieces of the horror genre. It was the 1922 – »Nosferatu, Eine Symphonie des Grauens« by Friedrich Wilhelm Murnau.
Much like F. W. Murnau, the art director, Albin Grau was a mystic and a member of several secret societies. By bringing together talented and like-minded artists, Murnau created a harmonious and iconic work, from the scenography, costumes, and promotional materials to the choice of actors and locations. One of my efforts was to emphasize the layered nature of this film, as well as the artistic movement that embodies it.
In the process, I had the opportunity to explore modern art through the medium of film which led to the creation of an artist’s book and a collection of movie posters. I am grateful that I’ve had the chance to bring this vision to life and share it with others. Enjoy!
As I delved deeper, I explored various featured films and documentaries about demonic folklore and soon found myself in the German Expressionist era in front of one of the first pieces of the horror genre. It was the 1922 – »Nosferatu, Eine Symphonie des Grauens« by Friedrich Wilhelm Murnau.
Much like F. W. Murnau, the art director, Albin Grau was a mystic and a member of several secret societies. By bringing together talented and like-minded artists, Murnau created a harmonious and iconic work, from the scenography, costumes, and promotional materials to the choice of actors and locations. One of my efforts was to emphasize the layered nature of this film, as well as the artistic movement that embodies it.
In the process, I had the opportunity to explore modern art through the medium of film which led to the creation of an artist’s book and a collection of movie posters. I am grateful that I’ve had the chance to bring this vision to life and share it with others. Enjoy!
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Inspired by the aesthetic and technological aspects of the silent film era, this book is based on various constructive principles, and it features illustrations and expository titles. Illustrations are made of altered still frames by hand-drawn and painted interventions, juxtaposed with expressive calligraphic strokes. Throughout the pages, there are expository intertitles that reflect the typographic characteristics of the modernist movement.
This film has many versions and adaptations, so the book is quite fragmented and open for plot interpretations. The book’s contents and cover are designed to mimic the proportions and look of the 35mm nitrate film.
This film has many versions and adaptations, so the book is quite fragmented and open for plot interpretations. The book’s contents and cover are designed to mimic the proportions and look of the 35mm nitrate film.
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Since »Nosferatu« was shot at 16 frames per second and projected on a maximum of 18 to prevent the nitrate film from melting, I created 16 illustrations bound by the 4:3 aspect ratio and printed them on the transparent PVC foil. The pages beneath are made of recycled paper with an aged texture. When viewed under appropriate lighting, the “scenes” cast a shadow on the paper, creating a visual tribute to the transcendental cinematic language of Friedrich Wilhelm Murnau. To invoke a visual effect similar to the melting of film, as the pages do exceed the given limit of 18, the hand-painted pieces of the illustration and calligraphy elements were created by painting with a solution of sodium hypochlorite on black paper.
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The movie posters are designed using authentic phrases from original publications, including promotional slogans and premiere announcements in the local language. I analyzed this publications from a contemporary perspective, taking into account the art movements that influenced the era and the location where the film was shown. Specifically, I designed posters for the first film screening in the Netherlands, the first premieres in Germany, and in the USA in 1929.
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The packaging blends elements from all three movie posters and is crafted with the decollage technique. The cardboard tube is designed to mimic a street pole, with added modifications mirroring the effects of weather or passersby.
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