Issue 02: Nosferatu
This issue of Screencap examines the enduring legacy of Nosferatu: A Symphony of Horror—widely regarded as the first vampire film—through its evolving representations of Otherness. Once embodied by the grotesque Count Orlok, this Otherness has, over a century of reinterpretations, become increasingly centered on the female protagonists of its adaptations. As Orlok’s menace shifts from an external threat to a psychological and existential force, these women emerge as figures of fear, desire, and defiance.
This issue of Screencap examines the enduring legacy of Nosferatu: A Symphony of Horror—widely regarded as the first vampire film—through its evolving representations of Otherness. Once embodied by the grotesque Count Orlok, this Otherness has, over a century of reinterpretations, become increasingly centered on the female protagonists of its adaptations. As Orlok’s menace shifts from an external threat to a psychological and existential force, these women emerge as figures of fear, desire, and defiance.
This issue of Screencap examines the enduring legacy of Nosferatu: A Symphony of Horror—widely regarded as the first vampire film—through its evolving representations of Otherness. Once embodied by the grotesque Count Orlok, this Otherness has, over a century of reinterpretations, become increasingly centered on the female protagonists of its adaptations. As Orlok’s menace shifts from an external threat to a psychological and existential force, these women emerge as figures of fear, desire, and defiance.