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    Nosferatu, Dracula, and the Law January 1921: Prana-Film has a grand vision of the future of horror. Films they planned to create included Hollentraume (Dreams of Hell) and Der Sumpfteufel (The Devil of the Swamp). The only titled they created, however, was Nosferatu. Perhaps Albin Grau, the film’s producer and a famed occultist, should not have drawn such inspiration from Dracula. Renaming Jonathan to Hutter, Mina to Ellen, and Dracula to Orlok does not a fair use claim make. Perhaps Prana-Film, who never sought approval from the Stoker family, should not have stated it was “freely adapted” from Bram Stoker’s Dracula. Most importantly, perhaps Prana-Film should not have underestimated the fury of the still-living widow of Bram Stoker: Florence Stoker. April 27th, 1922: Florence Stoker officially joins the British Incorporated Society of Authors, intending for the society to sue on her behalf. February, 1925: Stoker, realizing she will not be receiving any money from this rapidly collapsing film company, argues for the destruction of all copies of Nosferatu—a film she has never seen. July 20th, 1925: The owners of the assets of Prana-Films give in. Withdrawing their appeal, there is nothing to stop Nosferatu from being destroyed. There is no confirmation it actually is destroyed. October, 1925: Florence Stoker is invited to join a newly formed organization, the Film Society, dedicated to preserving and showing important films. This group included the likes of playwright G.B. Shaw and H.G. Wells. On the docket for their first screening? Retitled “Dracula by F.W.
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