Holte, James Craig. Dracula in the Dark: The Dracula Film Adaptations. Westport, CT: Greenwood Press, 1997.

In Chapter 2 of Dracula in the Dark: The Dracula Film Adaptations, Holte discusses the early adaptations of Stoker’s Dracula, namely the film Nosferatu (1922), the Dracula stage play, and the film Dracula (1931), placing them in their historical contexts. Holte discusses Murnau’s Nosferatu and compares it to its source material. He details how Nosferatu greatly simplifies Stoker’s Dracula:

Major characters are deleted, other characters, most significantly that of the vampire, are made one-dimensional, and entire scenes, including Stoker's effective chase of the vampire by the fearless band of vampire hunters across Europe and the confrontation at Castle Dracula, are cut. In addition, the Van Helsing character, who is a major force in the novel and can be seen as Dracula's "good" double, is reduced to a brief appearance; he has been replaced by The Book of the Vampire. Similarly, the character of Lucy Westenra is gone, as are almost all references to technology, colonialism, and religion, which provided the rich backround in Stoker's novel. As a result, much of the complexity of Stoker's novel is lost.

Holte recognizes the stylistic elements of German Expressionism in Nosferatu that make it unique and notes that film criticism generally favors Nosferatu over Browning’s Dracula. Similarly, Holte compares Browning’s Dracula to the source material. While retaining more of the characters and plot elements of Stoker’s novel than Nosferatu, Browning’s Dracula also omits some characters, such as Quincy Morris and Arthur Holmwood. The adaptation also relies heavily on the stage play, especially in the latter half.

While Nosferatu and Dracula are both adaptations of Stoker’s Dracula, they offer diametrically opposing readings of the novel, both from the viewpoints of style and of substance. Holte notes the disparity between the German Expressionist style of the traditional Hollywood style of Browning’s Dracula. While he compares both films individually to their source material, he also compares them to one another. For example, Nosferatu entirely omits the sequence where Dracula’s vampirellas bear down on his visitor, whereas it includes a horrifying ship scene absent in Browning’s Dracula. Additionally, the films’ portrayals of Dracula differ greatly; Nosferatu’s is a hideously ugly plague-bearer while Browning’s is a suave figure in evening clothes. Holte notes that “Browning’s Dracula succeeds because of its emphasis on individual conflict and sexual attraction, two essential elements played down by Murnau in his adaptation of Dracula.”