By Stacey Abbott
During this unique and soaking up paintings, writer Stacey Abbott demanding situations the traditional interpretation of vampire mythology and argues that the medium of movie has thoroughly reinvented the vampire archetype.
Table of Contents:
Introduction: rather less Ritual and a bit extra Fun
Part One: Bram Stoker's Dracula from Novel to movie
1. Dracula: A ask yourself of the trendy World
2. The Cinematic Spectacle of Vampirism: Nosferatu within the gentle of recent Technology
3. From Hollywood Gothic to Hammer Horror: the trendy Evolution of Dracula
Part : The delivery of the fashionable American Vampire
4. The Seventies: The Vampire Decade
5. George Romero's Martin: An American Vampire
6. strolling Corpses and self reliant Filmmaking Techniques
7. exact make-up results and Exploding Vampires
Part 3: Reconfiguring the city Vampire
8. big apple and the Vampire Fl neuse
9. Vampire highway videos: From Modernity to Postmodernity
10. l. a.: Fangs, Gangs, and Vampireland
Part 4: Redefining limitations
11. Vampire Cyborgs
12. Vampires in a without borderlines global
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Extra resources for Celluloid Vampires: Life After Death in the Modern World
Example text
14 In other words, like Dracula’s dream of life in London, the flâneur must circulate unnoticed within the crowds of the city and feed off the life around him. Stoker’s decision to set his story in modern London was, however, not unique in late nineteenth-century Gothic fiction. The narratives, characters, and settings of Gothic fiction were transforming. While eighteenthcentury Gothic focused upon the past’s intrusion on the present in the form of an external threat or monster, nineteenth-century Gothic was increasingly defined by internal threats and anxieties.
I read in the typescript that in my trance I heard cows low and water swirling level with my ears and the creaking of wood. The Count in his box, then, was on a river in an open boat—propelled probably either by oars or poles, for the banks are near and it is working against stream” (353). The result of her analysis renews the vampire hunters’ pursuit of Dracula. While the methods of the vampire hunters may seem to ground the characters within the modern, they also serve to overturn their own definition of modern in favor of a new form of modernity.
Later in the novel, when Mina describes her encounter with Dracula, she states that it was “as if he had stepped out of the mist—or rather as if the mist had turned into his figure” (287). In his reconception of the modern vampire, Stoker draws upon contemporary developments in electrical sciences that had played a significant role in the changing perception of the natural world in the nineteenth century. He reinvents the vampire through the language and imagery of modern technology and electrical sciences.