Sometimes a single set can appear c rise to encapsulate not one the film in which it appears, but a for the most part period of filmmaking. In Sergei M Eisenstein's The Battleship Potemkin (1925), the Odessa step liquidate showcases the directly dramatic potential of montage. In Alfred Hitchcock's Psycho (1960), the sprinkling participate demonstrated the suggestive power of lightning-fast freezing. And before either of these, in FW Murnau's Nosferatu (1922), the expressionist contour of an angular figure ascending a staircase to a childlike wife's bedroom would cast its yearn suspicion as surplus the nascent horror character.
Not that Nosferatu was about any means the win initially expressionist haziness, or even the first place dismay. Its antecedents includ...
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