There’s so many scenes that could be added here. For example when she tells her husband that nobody could ever pleasure her like the count, and then the emasculated husband begins to have intercourse with her and she says “take me so he can see us enjoying each other” (or something like that). Here the enjoyment is properly obscene in that it can only take place in front of the imaginary gaze Of the master. And so many more scenes like this. To me the film ultimately suggests that Depp is the true enlightenment subject because only she goes all the way in identifying the true traumatic source of her enjoyment and of course in this encounter with the impossible core/truth of her desire is consumed (literally) by it. Whereas the “enlightenment subjects” who refuse to see the reality for what it is (including its horrendous dimension) are the comic characters (like the brother) who of course succumbs himself to a gruesome kind of irrational death. In this sense I think Eggers is very aware of the psychoanalytic trappings of the horror genre and actually manages to create a very different story even though it seems like a beat by beat remake. Apologies: I accidentally said “Dave Eggers” instead of “Robert Eggers”. My mistake
@jackskellingtonationah Very interesting, thank you for suggesting this. You’re correct that it seems important that Dafoe insists she is not drugged and that she undergo the full objective destitution. As for the Zizek connection, did not know this thank you. Where does Eggers say this, curious.
@@julianphilosophy it can be inferred from Willems character, the role he plays in the movie, resolving the hysteria of the analysand, but what tips me off even more is Eggers reference to Zizeks mannerisms in his GQ conversation with Willem ruclips.net/video/olj7bLxPXls/видео.htmlsi=9OnHZCijwGyHoCr6 at 6:00-8:00
Eggers is a master storyteller, and Nosferatu did not disappoint! As deep and rich as I anticipated and I appreciate your analysis! I saw Depp's character as feminist, as, according to Defoe's character, she redeems the town through her sacrifice.
In 1963, the psychoanalyst Jacques Lacan wrote a paper titled "Kant with Sade." Lacan attempted to find a connection between the German philosopher Immanuel Kant, one of the most important philosophers of the Enlightenment, and the German writer and novelist of the eighteenth century, Marquis de Sade, the writer from whom the concept of "sadism" was derived. At first glance, it seems insane to consider anything that connects the moral philosopher Immanuel Kant and the hedonistic writer Marquis de Sade. However, Lacan creates a link between the sacred and the profane as follows: It can be said that the relationship between Sade and Kant seems clear if we consider the Freudian superego, the moral law that imposes many impossible orders on us and then laughs at us when we are unable to fulfill its orders. We can see here that the moral law itself is sadistic and perverted. But that is not Lacan, Lacan did not see that Kant was deeply sadistic, but that Sade was deeply Kantian. What Lacan saw was that the law of moral duty, "do what is ethical without considering the purpose and without any attachment to pathology," is the essence of desire in Sade. For Sade, pleasure is law, abstract. In Freudian terms, pleasure is located beyond the pleasure principle. Enjoy and enjoy and enjoy even if you lose your life. Do not compromise on what is moral for Sade, do not compromise on your desire. In Robert Eggers' new masterpiece, another twist on the legend of Nosferatu, Eggers seeks to reconcile the path of desire with the law of moral duty. In Eggers' film, we meet Ellen Hutter ("Lily-Rose Depp"), a person torn apart by her desire, shaped in fits of hysteria and moans that mix pain with erotica. She waits/fears a monster capable of satisfying that desire. She marries Thomas ("Nicholas Hoult") hoping, as she says, that he is able to get her out of the predicament of her desire. For Thomas is a person who can be described as ordinary and his enjoyment is easy and can be described as boring. Ellen's predicament lies in the fact that she has an unrestrained desire but also a suppressed desire, which makes it manifest in the form of entanglements and epileptic seizures. Ellen says that when she was little and alone, she summoned the monster Nosferatu. And we, the viewers, spend the rest of the film waiting for this physical union between Ellen and Nosferatu/Count Orlok. Ellen tries to bargain with her desire to suppress her pleasure and prevent this contact until the end of the film. But with the arrival of Orlok/Nosferatu to the town, he gives Ibby three days to accept him, and during those three days, Nosferatu brought a plague that kills the town. At the end of the film, Ellen sends her husband Thomas to drive him away, lying with the monster Nosferatu while she waits for him to come to her. The film ends with the bodies of Ellen and the monster Nosferatu after she gave herself to him in a scene that mixes what is pleasurable with what is frightening. As usual, Eggers depicts in the end of the film the light that announces the end of the plague on the town. Eggers always uses bright light at the end of his films as a metaphor for a kind of enlightenment of his heroes. Here we can say that Eggers placed Sade as one of the rational Enlightenment philosophers. It can be said that for Eggers, true enlightenment lies not in the removal of pleasure in exchange for rational thinking, but in this strange union between desire and moral law. Eggers made Ellen's desire for the monster Nosferatu and her refusal to compromise on her desire in the same nobility as her mission and her adherence to the moral law to do what is necessary to end the plague that swept the town. Eggers filmed his film Nosferatu in the atmosphere of Gothic horror. It oscillates between light and shadow in the style of German Expressionism and also portrays his characters in the heart of nature, emphasizing their insignificance in the face of its terror and indifference, like the paintings of German Romanticism. This is undoubtedly the best film of the year.
Impressive analysis, Julian de Medeiros. Looking forward to your next upload! I smashed that thumbs up button on your video. Keep up the fantastic work. Your exploration of the Freudian themes in the film is thought-provoking. How do you think the character dynamics reflect contemporary discussions on power and submission in relationships?
Hi Julian, I am new to your channel but have been seeking more insight on this film, so thank you for your unique perspective! I love Egger's films, and overall I found this one to be excellent. However, one line of speech has stuck in my mind like a thorn, and I have been wrestling with it for days. At one point, Von Franz describes Nosferatu as being, "worse than evil, he is death". To me, that message runs counter to the whole theme of the film, which is explicitly about evil. (ex: Ellen asking Von Franz if "evil comes from within, or beyond", which I really believe summarizes best what the story is ultimately grappling with and her personal struggles as the protagonist). The grand finale illustrates death as a passage out of this world and into the next, something which released both Orlok and Ellen from their respective curses and finally freed them. Orlok's very state as a Nosferatu means that he is existing as a being outside of life and death. Death is shown as a natural part of the life cycle, that it comes and goes and will happen to us all. Yet evil persists as something else altogether. If it were me writing this film, I would have had von Franz say of Orlok that he is worse than death, he is evil.
It’s definitely an interesting point. Personally I think the key is when Dafoe’s character says that’s nosferatu is “beyond good and evil.” I take this to be a reference of sorts to Nietzsche’s polemic against normative moralizing (I.e. good guys vs bad guys) and to me at least it seems like Eggers is trying to undermine some of those tendencies within the genre of romantic/gothic fiction.
0:32 "La révolution génétique se fit lorsq'on découvrit qu'il n'y a pas transmission de flux à proprerment parler, mais communication d'une code ou d'une axiomatique, d'une combinatoire informant les flux. Il en est de même du champ social: son codage ou son axiomatique définissent d'abord en lui une communication des insconscients. Ce phénomène de la communication que Freud a rencontré de façon marginale, dans ses remarques sur l'occultisme, constitue en fait la norme, et rejette au second plan les problèmes de transmission hérèditaire qui agitaient la polémique Freud-Jung." Father is not the master, society is the master.
There’s so many scenes that could be added here. For example when she tells her husband that nobody could ever pleasure her like the count, and then the emasculated husband begins to have intercourse with her and she says “take me so he can see us enjoying each other” (or something like that). Here the enjoyment is properly obscene in that it can only take place in front of the imaginary gaze
Of the master. And so many more scenes like this. To me the film ultimately suggests that Depp is the true enlightenment subject because only she goes all the way in identifying the true traumatic source of her enjoyment and of course in this encounter with the impossible core/truth of her desire is consumed (literally) by it. Whereas the “enlightenment subjects” who refuse to see the reality for what it is (including its horrendous dimension) are the comic characters (like the brother) who of course succumbs himself to a gruesome kind of irrational death. In this sense I think Eggers is very aware of the psychoanalytic trappings of the horror genre and actually manages to create a very different story even though it seems like a beat by beat remake.
Apologies: I accidentally said “Dave Eggers” instead of “Robert Eggers”. My mistake
Can we talk about DeFoes character being a proper psychoanalyst and a vanishing mediator? Eggers hints strongly he was inspired by Zizek.
@jackskellingtonationah Very interesting, thank you for suggesting this. You’re correct that it seems important that Dafoe insists she is not drugged and that she undergo the full objective destitution. As for the Zizek connection, did not know this thank you. Where does Eggers say this, curious.
@@jackskellingtonation As his last name is literally "von Franz," I thought he was Jungian.
@@julianphilosophy it can be inferred from Willems character, the role he plays in the movie, resolving the hysteria of the analysand, but what tips me off even more is Eggers reference to Zizeks mannerisms in his GQ conversation with Willem ruclips.net/video/olj7bLxPXls/видео.htmlsi=9OnHZCijwGyHoCr6 at 6:00-8:00
@@jltsheppard5057 perhaps but I’d say his methods were lacanian, at least in the end resolution
Eggers is a master storyteller, and Nosferatu did not disappoint! As deep and rich as I anticipated and I appreciate your analysis! I saw Depp's character as feminist, as, according to Defoe's character, she redeems the town through her sacrifice.
Many thoughts from after the screening and I find this. Very helpful thank you, your insight is always much appreciated
Camera is too close to your face professor! :o)
I think that's a nod to the movie that also has plenty of close-ups.
In 1963, the psychoanalyst Jacques Lacan wrote a paper titled "Kant with Sade." Lacan attempted to find a connection between the German philosopher Immanuel Kant, one of the most important philosophers of the Enlightenment, and the German writer and novelist of the eighteenth century, Marquis de Sade, the writer from whom the concept of "sadism" was derived.
At first glance, it seems insane to consider anything that connects the moral philosopher Immanuel Kant and the hedonistic writer Marquis de Sade. However, Lacan creates a link between the sacred and the profane as follows:
It can be said that the relationship between Sade and Kant seems clear if we consider the Freudian superego, the moral law that imposes many impossible orders on us and then laughs at us when we are unable to fulfill its orders. We can see here that the moral law itself is sadistic and perverted. But that is not Lacan, Lacan did not see that Kant was deeply sadistic, but that Sade was deeply Kantian.
What Lacan saw was that the law of moral duty, "do what is ethical without considering the purpose and without any attachment to pathology," is the essence of desire in Sade. For Sade, pleasure is law, abstract. In Freudian terms, pleasure is located beyond the pleasure principle. Enjoy and enjoy and enjoy even if you lose your life.
Do not compromise on what is moral for Sade, do not compromise on your desire.
In Robert Eggers' new masterpiece, another twist on the legend of Nosferatu, Eggers seeks to reconcile the path of desire with the law of moral duty.
In Eggers' film, we meet Ellen Hutter ("Lily-Rose Depp"), a person torn apart by her desire, shaped in fits of hysteria and moans that mix pain with erotica. She waits/fears a monster capable of satisfying that desire. She marries Thomas ("Nicholas Hoult") hoping, as she says, that he is able to get her out of the predicament of her desire. For Thomas is a person who can be described as ordinary and his enjoyment is easy and can be described as boring.
Ellen's predicament lies in the fact that she has an unrestrained desire but also a suppressed desire, which makes it manifest in the form of entanglements and epileptic seizures.
Ellen says that when she was little and alone, she summoned the monster Nosferatu. And we, the viewers, spend the rest of the film waiting for this physical union between Ellen and Nosferatu/Count Orlok.
Ellen tries to bargain with her desire to suppress her pleasure and prevent this contact until the end of the film. But with the arrival of Orlok/Nosferatu to the town, he gives Ibby three days to accept him, and during those three days, Nosferatu brought a plague that kills the town.
At the end of the film, Ellen sends her husband Thomas to drive him away, lying with the monster Nosferatu while she waits for him to come to her.
The film ends with the bodies of Ellen and the monster Nosferatu after she gave herself to him in a scene that mixes what is pleasurable with what is frightening.
As usual, Eggers depicts in the end of the film the light that announces the end of the plague on the town. Eggers always uses bright light at the end of his films as a metaphor for a kind of enlightenment of his heroes. Here we can say that Eggers placed Sade as one of the rational Enlightenment philosophers.
It can be said that for Eggers, true enlightenment lies not in the removal of pleasure in exchange for rational thinking, but in this strange union between desire and moral law. Eggers made Ellen's desire for the monster Nosferatu and her refusal to compromise on her desire in the same nobility as her mission and her adherence to the moral law to do what is necessary to end the plague that swept the town.
Eggers filmed his film Nosferatu in the atmosphere of Gothic horror. It oscillates between light and shadow in the style of German Expressionism and also portrays his characters in the heart of nature, emphasizing their insignificance in the face of its terror and indifference, like the paintings of German Romanticism.
This is undoubtedly the best film of the year.
Very well argued!
Thanks Julian
Impressive analysis, Julian de Medeiros. Looking forward to your next upload! I smashed that thumbs up button on your video. Keep up the fantastic work. Your exploration of the Freudian themes in the film is thought-provoking. How do you think the character dynamics reflect contemporary discussions on power and submission in relationships?
Hi Julian, I am new to your channel but have been seeking more insight on this film, so thank you for your unique perspective! I love Egger's films, and overall I found this one to be excellent. However, one line of speech has stuck in my mind like a thorn, and I have been wrestling with it for days. At one point, Von Franz describes Nosferatu as being, "worse than evil, he is death". To me, that message runs counter to the whole theme of the film, which is explicitly about evil. (ex: Ellen asking Von Franz if "evil comes from within, or beyond", which I really believe summarizes best what the story is ultimately grappling with and her personal struggles as the protagonist). The grand finale illustrates death as a passage out of this world and into the next, something which released both Orlok and Ellen from their respective curses and finally freed them. Orlok's very state as a Nosferatu means that he is existing as a being outside of life and death. Death is shown as a natural part of the life cycle, that it comes and goes and will happen to us all. Yet evil persists as something else altogether. If it were me writing this film, I would have had von Franz say of Orlok that he is worse than death, he is evil.
It’s definitely an interesting point. Personally I think the key is when Dafoe’s character says that’s nosferatu is “beyond good and evil.” I take this to be a reference of sorts to Nietzsche’s polemic against normative moralizing (I.e. good guys vs bad guys) and to me at least it seems like Eggers is trying to undermine some of those tendencies within the genre of romantic/gothic fiction.
@@julianphilosophy Thanks for your thoughts! I missed that line, definitely need to watch it again sometime to really take it all in.
0:32 "La révolution génétique se fit lorsq'on découvrit qu'il n'y a pas transmission de flux à proprerment parler, mais communication d'une code ou d'une axiomatique, d'une combinatoire informant les flux. Il en est de même du champ social: son codage ou son axiomatique définissent d'abord en lui une communication des insconscients. Ce phénomène de la communication que Freud a rencontré de façon marginale, dans ses remarques sur l'occultisme, constitue en fait la norme, et rejette au second plan les problèmes de transmission hérèditaire qui agitaient la polémique Freud-Jung."
Father is not the master, society is the master.
Beautiful analysis
Ahh thank you 🙏 This made complete sense.
Profound
I like these
His name is Robert
This Depp is Johnny?
His daughter, Lilly rose depp
@julianphilosophy oh ok, I'm just on my way to watch Nosferatu.
Garbage movie tho