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Dangerous bodiesHistoricising the gothic corporeal$
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Marie Mulvey-Roberts

Print publication date: 2016

Print ISBN-13: 9780719085413

Published to Manchester Scholarship Online: September 2016

DOI: 10.7228/manchester/9780719085413.001.0001

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Nazis, Jews and Nosferatu

Nazis, Jews and Nosferatu

(p.129) 4 Nazis, Jews and Nosferatu
Dangerous bodies

Marie Mulvey-Roberts

Manchester University Press

In chapter 4, the vampire theme continues with a discussion of Dracula, Jewishness and blood. It will be argued that the early film version of Stoker’s novel, Nosferatu, encrypts the ostensibly dangerous vampire body as a metaphor for the crypto-Jew. This approach informs the interpretation of E. Elias Merhige’s Shadow of the Vampire (2000) on the making of Nosferatu, which vampirises the earlier film. Besides looking back to the anti-Semitic imagery of Nosferatu, the film projects forward to the Jewish genocide perpetrated by fascist Germany, signified in a scene by a single swastika. This is an illustration of Jacques Derrida’s hauntology, which paradoxically predicts the spectre, a thing of the past, returning in the future. Both films contribute to a consideration of whether Nazi anti-Jewish films vampirically fed off the Gothic cinema of Weimar Germany

Keywords:   Anti-Semitism, Jews, vampires, Nazis, Dracula, Weimar cinema

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