Akademik Veri Yönetim Sistemi
ADAPTATION, cilt.19, sa.1, 2026 (Scopus)
Bram Stoker’s Dracula (1897), shaped by fin-de-siècle fears and fascination with science, technology, and late-Victorian anxieties over sexuality, contagion, and imperial decay, has long captivated filmmakers as Gothic horror and cultural allegory. Robert Eggers’s Nosferatu (2024) joins this intertextual lineage as both adaptation and homage, operating as a palimpsest of Henrik Galeen and Friedrich Wilhelm Murnau’s A Symphony of Horror (1922)—the unauthorized adaptation of Dracula. Eggers’s film is self-consciously layered, preserving the Gothic aesthetic and narrative structure of Murnau’s film while engaging intertextually with Stoker’s novel, and with Werner Herzog’s (1979) and Francis Ford Coppola’s (1992) adaptations. Eggers’s fidelity to Nosferatu (1922) foregrounds the film’s strengths but also its limitations, particularly in its treatment of gender, sexuality, and alterity.
As Julie Sanders indicates, ‘shared titles (…) might seem to invite comparative analysis’ (27). As an adaptation of the 1922 film, Eggers’s Nosferatu may indeed be read ‘in direct comparison with its source text’ (Berger 31). Although Eggers adapts, or repeats ‘without replication’ (Hutcheon 7), by introducing minor additions such as the prelude, where young and restless Ellen (Depp) awakens Count Orlok (Skarsgård) from his chthonic ‘sleep’, the narrative largely restores Murnau’s structure, to the extent of retaining character names and imaginary geographies.