Thebook VampireGod: The Allure of the Undead in Western Cultureseeks to examine the popular appeal of vampires from the early Slavicand Greek folklore to the contemporary popular culture. The thirdchapter of the book offers interesting and timely psychologicalperspectives into the lives of vampires. Additionally, it brings tothe table wide-range introductory remarks to students andacademicians looking for a concise review of both scholarly andcanonical vampirism literature, offering an array of a comprehensivesurvey of principal themes and preoccupations of the literature overan elongated period that is both accessible and lively. Moreover, theauthor of the book exhausted every plausible idea for age-defininghorror stories as it is categorically clear that there will be nonelike it in the years to come. I found the book thoroughlyentertaining and paradoxical from the fact that Dracula was portrayedas confident, charismatic and poignant gentlemen during the day whilethe case was entirely different once the night fell.
FromHollywood Gothic to Hammer Horror: The Modern Evolution of Dracula"in Celluloid Vampiresis an article written by the renowned mystery writer Stacey Abbott.She contests the conventional explanation and interpretation of thevampirism mythology and explains that cinematic mediums havereinvented the stereotypes and archetype of vampires completely.Rather than looking to present the folkloric and primitive tales thatvampires have come to embody with the passing of time and eventualtake-over by modernity, Stacey (2007) looks at offering an in-depthand critically analysis description of what constitutes vampires. Thearticle brings out the never-heard-before description of thelingering creatures springing from its well-crafted use of words andextensive research.
Titleof the film:TheHorror of Dracula
Theplot of the movie:The film goes down as one the important milestones in the horroroeuvre, and up to today it still stands as inventive and fresh as itwas many years. Critics and moviegoers alike have touted it as one ofthe best stories ever written (Sangster et al., 2013).
Thetheme of the film:Hammer as a studio has numerous fine hours, and this movie is themuch-needed evidence to prove it was aiming to put across thedepiction of the society on the vampire Dracula.
Thepoint of view of the filmmaker:The atmosphere of the Gothic setting in the film is on spot andforeboding always creating and intriguing character throughout. Thedrifting of the smoke from Dracula’s graveyard is best explainableas an excellent work of art (Guiley, 2004). Moviegoers often regardDracula is one of the greatest stories ever told, and the HammerStudios in its cinematic antics does justice to it.
Theportrayal of the vampire in the film:the Count Dracula maintained its trademark pale skin, cape, sharpwhite teeth, tall, slender physique, widow’s peak and the slickedblack hair. Additionally, Dracula was an embodiment of both women’sfantasies and the Freudian undertones that were essential in helpingrepress homosexuality issues pitting the soul of good against evil.The film also portrayed Dracula as a highly entertaining characteremanating from his charm, wits, and sexual appeal. Count Dracula wasalso made to appear normal but in the real sense he was a monsterwhich he looked nothing like. Unlike many movie monsters, Dracula isnot an outcast in any way and belongs to the upper crust of thesociety where he has adapted to living a regular life except atnight.
Abbott,Stacey. (2007). CelluloidVampires: Life After Death in the Modern World.First edition. University of Texas Press.
Sangster,J., Borst, R. V., In Riley, P. J., & Polidori, J. W. (2013). Thehorror of Dracula.
Guiley,R. E. (2004). TheEncyclopedia of Vampires, Werewolves and Other Monsters.New York: Infobase Pub.