SUNRISE CONDENSED FACT SHEET
SILENT CINEMA
- No synchronised recorded sounds
- Inter-titles
- Foregrounding of performance and other visuals to relay meaning
- Live music accompaniment
- Black and white
- Exaggerated facial expressions
FILM TECHNIQUES
- Camera movement Tracking shots follow characters through real, built sets – fluid
and immersive. Dolly shots move through space smoothly, adding dynamism and
emotion. Multiple images layered to show inner thoughts or fantasies
- Expressionist lighting High contrast light evokes emotion, stylised sets are slightly
distorted to heighten drama, fog and mist add mystery and atmosphere
- Montage and rhythmic editing Fast cutting during moments of fear or temptation.
Slow, lingering takes during emotional reconciliation. Rhythmic cross-cutting to build
tension or contrast settings
- Symbolism and visual metaphor The swamp – temptation, the city – modernity, the
church – redemption and rebirth, the sunrise – hope and new beginnings
- Minimal use of intertitles Murnau believed in pure cinema, telling the story through
images alone. The characters’ emotions are readable through body language,
expression and mise-en-scène
- Use of depth and staging Layered composition. Foreground, midground, and
background all contain action or visual interest. Actors move through the space in a
theatrical yet realistic way.
- Long tracking shots Used a moving camera when most films of the time were static.
When the couple walks through the city, the camera glides with them, giving the scene
a natural, immersive flow
- Acting style Silent film was more exaggerated, but Murnau encouraged subtle,
psychological performance
- Ariel shots Of the village and people, introducing us to the setting. When we see the
Wife’s body floating in the water, emphasising scale
- Extreme close-ups Of the man when he sees the reeds but not his wife, the Grandma
calling his name when the Wife was found
- Costuming The Woman from the City is dressed very well compared to the other
villagers and the Wife is dressed very plainly compared to her. Highlights the City
Woman’s separation from the villagers and resembles the theme of temptation
- Double exposure edit Of the angels above the couple differs from the chaotic double
exposure edit that the Man and the Woman from the City look at
OPENING SEQUENCE
- Vignetting Around establishing shot of village, making it feel romantic
- Double exposure Of the train, emphasises the mode of transport so when we see the
boat, it creates a contrast
- Score Cello plucks the same string twice, creating an unnerving and mysterious
feeling. A flute plays after the cello, creating a more romantic feel
- Performance The villagers waving frantically at the vacationers, showing their
excitement. Makes the story even more heartbreaking
- Transport There is a focus on modes of transport, mirroring the theme of journey and
redemption in the film
MARSH SCENE
- Tracking shot Follows the man as he walks into the marsh. We feel helpless and it
also creates the impression that an exterior force is driving him to the marsh
- Shot from behind a bush The camera is positioned behind a bush, creating the
feeling that we are spying on him and reinforces the idea that what he is doing is
wrong.
- Camera movement The camera stops when we see the Woman from the City. Shows
that she is his destination
- Cuts From the Wife crying to the Man walking to the other Woman, or from the Man
and other Woman to his Wife and child. Evokes the audience’s sympathy for the Wife as
we can see how upset she is and how he seemingly does not car
SILENT CINEMA
- No synchronised recorded sounds
- Inter-titles
- Foregrounding of performance and other visuals to relay meaning
- Live music accompaniment
- Black and white
- Exaggerated facial expressions
FILM TECHNIQUES
- Camera movement Tracking shots follow characters through real, built sets – fluid
and immersive. Dolly shots move through space smoothly, adding dynamism and
emotion. Multiple images layered to show inner thoughts or fantasies
- Expressionist lighting High contrast light evokes emotion, stylised sets are slightly
distorted to heighten drama, fog and mist add mystery and atmosphere
- Montage and rhythmic editing Fast cutting during moments of fear or temptation.
Slow, lingering takes during emotional reconciliation. Rhythmic cross-cutting to build
tension or contrast settings
- Symbolism and visual metaphor The swamp – temptation, the city – modernity, the
church – redemption and rebirth, the sunrise – hope and new beginnings
- Minimal use of intertitles Murnau believed in pure cinema, telling the story through
images alone. The characters’ emotions are readable through body language,
expression and mise-en-scène
- Use of depth and staging Layered composition. Foreground, midground, and
background all contain action or visual interest. Actors move through the space in a
theatrical yet realistic way.
- Long tracking shots Used a moving camera when most films of the time were static.
When the couple walks through the city, the camera glides with them, giving the scene
a natural, immersive flow
- Acting style Silent film was more exaggerated, but Murnau encouraged subtle,
psychological performance
- Ariel shots Of the village and people, introducing us to the setting. When we see the
Wife’s body floating in the water, emphasising scale
- Extreme close-ups Of the man when he sees the reeds but not his wife, the Grandma
calling his name when the Wife was found
- Costuming The Woman from the City is dressed very well compared to the other
villagers and the Wife is dressed very plainly compared to her. Highlights the City
Woman’s separation from the villagers and resembles the theme of temptation
- Double exposure edit Of the angels above the couple differs from the chaotic double
exposure edit that the Man and the Woman from the City look at
OPENING SEQUENCE
- Vignetting Around establishing shot of village, making it feel romantic
- Double exposure Of the train, emphasises the mode of transport so when we see the
boat, it creates a contrast
- Score Cello plucks the same string twice, creating an unnerving and mysterious
feeling. A flute plays after the cello, creating a more romantic feel
- Performance The villagers waving frantically at the vacationers, showing their
excitement. Makes the story even more heartbreaking
- Transport There is a focus on modes of transport, mirroring the theme of journey and
redemption in the film
MARSH SCENE
- Tracking shot Follows the man as he walks into the marsh. We feel helpless and it
also creates the impression that an exterior force is driving him to the marsh
- Shot from behind a bush The camera is positioned behind a bush, creating the
feeling that we are spying on him and reinforces the idea that what he is doing is
wrong.
- Camera movement The camera stops when we see the Woman from the City. Shows
that she is his destination
- Cuts From the Wife crying to the Man walking to the other Woman, or from the Man
and other Woman to his Wife and child. Evokes the audience’s sympathy for the Wife as
we can see how upset she is and how he seemingly does not car
