since the camera was mostly static and immobile to nosferatu, murnau used movement and differentiation within the rigid cadre in order to energize the scene. as orloks ship slowly moves from right to left through the movie screen, murnau used this so eisner's "powerful effect[s] of the impression of transverse motion." would stress education. this served the same purpose subjectifications of the camera view, such as when the vampire filmed on the ship from the frog perspective or stand looking out of windows, parts of the frame and shoots into view . the highlight of the subjectivated gaze are the scenes in which the vampire character - directly facing the camera - turns to the audience and thus the fourth wall is broken: "the vampire seems by its immensity, the dimensions of the screen to blow up and the viewers to directly threaten "