As these titbits suggest, Dracula as we popularly know it today is almost a palimpsest, its story overwritten with multiple iconic portrayals and imaginative revisions of its monster. As for the conception of Dracula as a figure of equal parts romance and horror, in the s, for the first time, a number of texts reframed Dracula as more lover than monster. These retellings of Dracula all depict a feeling vampire who forms a romantic relationship with a human woman. In this sense, the Dracula narratives of this era can be linked with the broader social disruptions of second-wave feminism.
We come to every Dracula with some understanding of the rules of his narrative. Is he still severely allergic to garlic and the sun? Does he still have the accent?
Must we invite him in? And, really, is he more lover or monster this time? Library Exhibitions Dark imaginings: gothic tales of wonder Gothic Research Bram Stoker's Dracula, the King Vampire There are few names from literature and popular culture that are as well known as that of Dracula. Abbott, Stacey. Edinburgh: Edinburgh University Press, Arata, Stephen D.
Auerbach, Nina. The Absinthe Scene starts with a series of extreme close-ups linked by dissolves. This technique creates a feeling of drunkenness or dizziness that has a certain dream-like quality to it and could be interpreted as point-of-view shots of the drugged Mina. These close-ups and extreme close-ups focus on the eyes of the characters, establishing a close spiritual connection between them.
Another factor in these shots that emphasizes seclusion and intimacy is the semi-transparent wall behind the table through which we can see shadows of dancing couples. Adding to the romantic and luring atmosphere is the low-key lighting with its warm colours, and the mise-en-scene which features luxurious chairs and goblets, a chandelier, exotic plants, and candles.
Somewhat delayed by the close-ups, we are presented with the establishing shot, a long shot that introduces the setting and shows us the costumes. This shot is the first hint that she is Elisabeta reincarnated. During this process, several superimpositions of Elisabeta and Dracula appear between the two figures, to link them visually as well as verbally.
The climax of the scene is somewhat strange, since instead of kissing which has to be reserved for the ultimate seduction scene Mina and Dracula seem to comfort each other.
Consequently, Mina is the agent of eternal love that solves all problems. What was the motivation for such a radical change? This explanation, however, most likely conceals the basic reason — profit. Austin notes that audiences for horror movies are predominantly male Making Dracula more attractive plays an important role in achieving this phenomenon, and an attractive couple as star-crossed lovers guarantees audience interest, even more so if the theme is eternal love that conquers all.
The gender distributions amongst these two groups, however, showed that there was no absolute correlation between gender and genre preference. Not all women liked the inclusion of the love relationship, and some missed the horror.
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Thus, the film fails to frighten and is consequently a compromise aiming to attract a broad audience rather than a horror movie. Thus, we might be witnessing the emergence of a new genre that aims at satisfying multiple tastes and audience segments. Multiple strands of narrative … are held together by voice-overs, captions, maps, visual and aural cues and links. The frequent, almost excessive, use of superimpositions and dissolves enables and enhances the depiction of multiple points of view. Waltje 30 Such a high degree of fidelity to character constellation and names, narrative transmission, and the main story-line, and most importantly the multiple points of view seems to justify the title.
Since such coincidence is unlikely, the fidelity approach seems doomed as an enterprise. This change has far-reaching impacts on the story, even if the remaining parts are rendered as faithfully as possible.
One essential question remains. This line of argument, however, only makes sense at a surface level. Hollywood, Hype and Audiences.
The best, worst, and weirdest adaptations of Dracula
Selling and Watching Popular Film in the s. Manchester: Manchester UP, Berner, Ursula. University of Vienna, Francis Ford Coppola. Columbia Tristar, Coppola, Francis Ford and James V. New York: Newmarket, Holte, James Craig. Dracula in the Dark. The Dracula Film Adaptations. Westport: Greenwood Press. Newer Post Older Post Home. Subscribe to: Post Comments Atom. In memory of Vanessa Marquez, All Rights Reserved.
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