Relevant bibliographies by topics / Dracula (1979)

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Dracula (1979)'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Dracula (1979)"

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Grabias, Magdalena. "Dracula – nowe perspektywy badawcze." Perspektywy Kultury 25, no. 2 (July 1, 2019): 193–98. http://dx.doi.org/10.35765/pk.2019.2502.14.

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Dziedzina studiów gotyckich, wywodząca się z romantycznej tradycji brytyjskiej i obejmująca badania nad literaturą i filmem, staje się coraz bardziej popularna także w krajach nieanglojęzycznych. Potwierdzają to liczne publikacje analizujące elementy gotyckie w pozycjach literackich i kinie narodowym krajów takich jak Hiszpania (np. Xavier Aldana Reyes, Spanish Gothic [Hiszpański gotyk], Londyn 2017) czy Włochy (np. Rober-to Curti, Italian Gothic Horror Films, 1970-1979 [Włoskie gotyckie horro-ry filmowe, 1970-1979], Jefferson, NC 2017). Na polskim rynku wydaw-niczym w ostatnich latach również nie zabrakło publikacji poświęconych omawianej tematyce. Ukazały się m.in. pozycje takie jak: Groza w kulturze polskiej pod redakcją Roberta Dudzińskiego, Kamila Kowalczyka i Joan-ny Płoszaj (Wrocław 2016); Upiór w kamerze. Zarys kulturowej historii kina grozy autorstwa Magdaleny Kamińskiej (Poznań 2016); Anatomia strachu. Strach, lęk i ich oblicza we współczesnej kulturze pod redakcją Bogusławy Bodzioch-Bryły i Lilianny Dorak-Wojakowskiej (Kraków 2017); Oblicza wampiryzmu pod redakcją Anny Depty, Szymona Cieślińskiego i Michała Wolskiego (Wrocław 2018) i wiele innych.
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Kalusche, Vera. "»Dracula« (1992) und ich (1970)." Zeitschrift für Individualpsychologie 40, no. 4 (November 1, 2015): 325–35. http://dx.doi.org/10.13109/zind.2015.40.4.325.

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Hopkins, Lisa. "Birthing modernity: The BBC’s Count Dracula (1977)." Journal of Adaptation in Film & Performance 10, no. 3 (December 1, 2017): 217–26. http://dx.doi.org/10.1386/jafp.10.3.217_1.

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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Antunes, Maryna Vieira Martins, and Rosangela Aparecida de Medeiros Hespanhol. "OS DISTRITOS MUNICIPAIS NO BRASIL: UMA LEITURA GEOGRÁFICA A PARTIR DE JAMAICA E JACIPORÃ, MUNICÍPIO DE DRACENA (SÃO PAULO/BRASIL) / THE MUNICIPAL DISTRICTS IN BRAZIL: A GEOGRAPHY READING OF JAMAICA AND JACIPORÃ, MUNICIPALITY OF DRACENA (SÃO PAULO/BRAZIL)." Geo UERJ, no. 32 (June 18, 2018): e24942. http://dx.doi.org/10.12957/geouerj.2018.24942.

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Busca-se apresentar e discutir os resultados da pesquisa de mestrado realizada nos distritos municipais de Jamaica e Jaciporã, Dracena, Estado de São Paulo, cujo objetivo principal foi analisar as características econômicas, sociais e culturais engendradas na organização espacial dos distritos municipais, decorrentes das mudanças verificadas no setor agropecuário regional. As etapas da pesquisa incluíram revisão bibliográfica, sistematização de dados de fonte secundária, pesquisa de campo (observação, aplicação de questionários e realização de entrevistas) e análise dos dados e informações produzidas. Foram explorados, além dos aspectos formais dos distritos, os traços engendrados pelas modificações no setor agropecuário regional, percebidas a partir da crise da cafeicultura entre as décadas de 1970 e 1980. Averiguou-se que as mudanças na estrutura fundiária e nas relações de trabalho contribuíram para que os distritos se tornassem espaços, majoritariamente, destinados ao uso residencial para a população empregada no setor de serviços na cidade de Dracena. Houve diminuição da população vivendo nos distritos e, principalmente, no entorno – áreas do rural disperso. Nos distritos nota-se que a ruralidade ultrapassa o setor agrícola e é marcada pela convivência, proximidade e laços de parentesco entre os moradores e pelas estratégias “solidárias” desenvolvidas pela população a fim de alcançar amenidades no cotidiano, solução de conflitos e melhorias nos distritos.
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Miquel-Baldellou, Marta. "From pathology to invisibility: age identity as a cultural construct in vampire fiction." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 125. http://dx.doi.org/10.14198/raei.2014.27.08.

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A diachronic analysis of the way the literary vampire has been characterised from the Victorian era up to the contemporary period underlines a clear evolution that seems particularly relevant from the perspective of ageing studies. One of the permanent features characterising the fictional vampire from its origins to its current manifestations in literature is precisely the vampire’s disaffection with the effects of ageing in spite of its old chronological age. Nonetheless, even though the vampire’s appearance does not age, the way it has been presented in literature has significantly evolved from a remarkable aged look during the Victorian period in John Polidori’s “The Vampyre: A Tale” (1819), Joseph Sheridan Le Fanu’s Carmilla (1872) or Bram Stoker’s Dracula (1897) to young adulthood in Anne Rice’s An Interview with the Vampire (1976) and Charlaine Harris’ Dead Until Dark (2001), adolescence in Stephenie Meyer’s Twilight (2005-2008), and even childhood in John Ajvide Lindquist’s Let the Right One In (2004), thus underlining a significant process of rejuvenation through time despite the vampire’s apparent disaffection with the effects of ageing. This article shows how the representations of the vampire in literature reflect a shift from the embodiment of pathology to the invisibility, or the denial, of old age and how this, in turn, reflects cultural conceptualisations and perceptions of ageing.
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Karfakis, Costas. "A model of exchange rate policy: evidence for the US dollar-Greek drachma rate 1975-87." Applied Economics 23, no. 1 (April 1991): 815–20. http://dx.doi.org/10.1080/00036849100000189.

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Karfakis, Costas J. "A model of exchange rate policy: evidence for the US dollar–Greek drachma rate 1975–87." Applied Economics 23, no. 4 (April 1991): 815–20. http://dx.doi.org/10.1080/00036849108841039.

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Karfakis, Costas. "A model of exchange rate policy: evidence for the US dollar-Greek drachma rate 1975-87." Applied Economics 23, no. 4 (April 1991): 815–20. http://dx.doi.org/10.1080/772858994.

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Sanna, Antonio. "Reproducing the Fin-de-siècle Gothic with Techno-Gothic Vampires." Kinema: A Journal for Film and Audiovisual Media, April 15, 2010. http://dx.doi.org/10.15353/kinema.vi.1227.

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REPRODUCING THE FIN-DE-SIECLE GOTHIC WITH TECHNO-GOTHIC VAMPIRES: A COMPARATIVE STUDY OF THE ALIEN QUADRILOGY AND BRAM STOKER'S DRACULA'S EXILE AbstractMany critics have agreed on defining both the Dracula novel by Bram Stoker and the Alien series as horror narratives, with specific reference to the latter as a form of contemporary Gothic. Indeed, several collections of critical essays and scholarly volumes on the Gothic analyse both the work of Dracula and the Alien films. In this article, I intend to examine the similarities between Stoker's 1897 work and the four films of Alien, produced between 1979 and 1998. Specifically, I will examine the characteristics of the 1890s Gothic and refer them to the Alien films. These works can be associated to each other by comparing the scholarly work by the critics and particularly their focus on the sexual metaphors and contents present in these texts. Certainly, innumerable literary and...
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Dissertations / Theses on the topic "Dracula (1979)"

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McArthur, Ian Duncan. "Adapting Dracula: The Afterlives of Stoker's Memes in Nosferatu (1922) and Dracula (1979)." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6477.

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Dracula is a narrative that has risen above its own origins, having been translated and adapted across mediums it has inundated culture with vampires. However, with each adaptation the narrative and characters adapt into something new. This study is interested in the mechanism behind this evolution and argues that memes and, and their interpretations, are largely responsible for these shifts across adaptations. Three memes, in particular, tend to be adapted in films of Dracula. They include Dracula's appearance, Mina's empowerment, and the nature of the bite that they share. This analysis covers how these memes functioned in Stoker's original novel and how they adapted in the films Nosferatu (1922) and Dracula (1979) to reflect the developing culture norms regarding sexuality.
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Galliera, Anca Izabel. "Negotiating artistic identity through satire subreal 1989-1999 /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001175.

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Books on the topic "Dracula (1979)"

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Pozzuoli, Alain. Dracula (1897-1997): Guide du centenaire. [Paris]: Hermes, 1996.

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Newman, Kim. Judgment of tears: Anno Dracula 1959. New York: Avon Books, 1999.

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Newman, Kim. Judgment of tears: Anno Dracula 1959. New York: Carroll & Graf, 1998.

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Newman, Kim. Judgment of tears: Anno Dracula 1959. New York: Avon Books, 1999.

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Newman, Kim. Anno Dracula 1999. Titan Books Limited, 2019.

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Newman, Kim. Anno Dracula 1999: Daikaiju. Titan Books Limited, 2020.

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Hudson, Dale. International Hollywood Vampires: Cosmopolitanisms of “Foreign Movies”. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0005.

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After belated awareness of racism, specifically anti-Semitism within European fascism, not only did postwar US immigration policies change but so too did Hollywood’s vampire films. This chapter probes Hollywood’s international financing of films in the United Kingdom, runaway productions in Europe and the Philippines, and Mexican and Philippine films that were re-edited and dubbed for US markets. Deterritorialized from Los Angeles, Hollywood produces categories of foreign movies alongside domestically shot studio and independent films, evident in Horror of Dracula (1958), Samson Versus the Vampire Women (1962/1963) and Horror of the Blood Monsters (1970). Other films within this analytic parody in imperial-inflected cosmopolitanism of foreign movies, notably The Fearless Vampire Killers, or Pardon Me, Your Teeth Are in My Neck (1967) and Blood for Dracula (1974). Since film circulation operates according to ethnic/racial and national hierarchies in immigration and naturalization law, postwar films unsettle assumptions.
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Newman, Kim. Judgment of Tears:: Anno Dracula 1959. Harper Perennial, 1999.

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Margaret, Davison Carol, and Simpson-Housley Paul, eds. Bram Stoker's Dracula: Sucking through the Century, 1897-1997. Toronto, CA: Dundurn Press, 1997.

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Russell, Miller Elizabeth, ed. Dracula - the shade and the shadow: Papers presented at "Dracula 97", a centenary celebration at Los Angeles, August 1997. Westcliff-on-Sea: Desert Island Books, 1998.

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Book chapters on the topic "Dracula (1979)"

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Guarneri, Michael. "Post-1968 Vampires." In Vampires in Italian Cinema, 1956-1975, 149–72. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0007.

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Concerned with the political and socio-economic implications of Italian vampire cinema, the chapter identifies Italian vampires with enemies within (a specific group of people in the nation-state’s social body) and enemies without (scheming foreigners). The chapter focuses on six Italian vampire films of various genres made between 1970 and 1975. Directly referencing Karl Marx and Marxist thinkers, ...Hanno cambiato faccia (Corrado Farina, 1971), La corta notte delle bambole di vetro / Short Night of Glass Dolls (Aldo Lado, 1971), Il prato macchiato di rosso (Riccardo Ghione, 1972), L’uomo che uccideva a sangue freddo / Shock Treatment (Alain Jessua, 1973), Dracula cerca sangue di vergine... e morì di sete!!! / Blood for Dracula (Paul Morrissey, 1974) and Il cav. Costante Nicosia demoniaco, ovvero: Dracula in Brianza / Dracula in the Provinces (Lucio Fulci, 1975) liken the then-contemporary ruling political caste and capitalist class to greedy, self-serving vampires that are undefeatable due to their power of adaptation, thereby providing an apocalyptic view on the post-economic-miracle period, from the late-1960s wave of anti-authoritarian protests in Italian universities and factories to the mid-1970s plans for an alliance between Christian Democrats and Communists.
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Peirse, Alison. "Draculaon Film 1931–1959." In The Cambridge Companion to ‘Dracula', 179–91. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316597217.017.

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Guarneri, Michael. "Italian Vampire Cinema (1956–1975)." In Vampires in Italian Cinema, 1956-1975, 41–74. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0003.

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The chapter details the success of the Hammer Dracula (Terence Fisher, 1958) in late-1950s and early-1960s Italy, and explains why, where, by whom and with which commercial results a series of vampire films were made by Italian companies from 1959 to 1975, with the cooperation of European co-production partners and/or American investors. While revealing the imported and derivative nature of 1956-1975 Italian vampire cinema, the industrial analysis conducted in the chapter shows how local factors such as distribution-fed production, time- and cost-saving shooting practices, state censorship and state aids made the Italian vampire rip-offs into variations on the theme mixing foreign models with distinctively national traits rather than into slavish plagiarisms.
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Guarneri, Michael. "Introduction." In Vampires in Italian Cinema, 1956-1975, 1–20. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0001.

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The aim of the introductory chapter is threefold. Firstly, the chapter points out the monograph’s originality by contextualising the book in relation to ongoing scholarly debates about vampire fiction and Italian film history. Secondly, the chapter presents the corpus of thirty-three films to be studied, outlining the thematic and industrial criteria behind the selection. The corpus goes from vampiric/Frankensteinian monster-mash I vampiri / Lust of the Vampire (Riccardo Freda, 1957), which is generally considered the first Italian horror film, to horror parody Il cav. Costante Nicosia demoniaco, ovvero: Dracula in Brianza / Dracula in the Provinces (Lucio Fulci, 1975). Thirdly, in order to introduce some key elements of Italian cultural specificity, the chapter provides a brief history of literary and cinematic horror fiction in Italy prior to 1956, with particular attention to vampire-themed works.
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Boken, Vijendra K. "Agricultural Drought and Its Monitoring and Prediction: Some Concepts." In Monitoring and Predicting Agricultural Drought. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195162349.003.0007.

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Droughts develop largely due to below-average precipitation over a land area, and they adversely affect various economic sectors in a region. Some of these adverse effects include reductions in agricultural production, hydropower generation, urban and rural water supplies, and industrial outputs. These effects lead to other consequences, secondary and tertiary, that further impact an economy. For instance, when agricultural production declines, food and other commodities tend to cost more and cause economic inflation in a society. Chain effects of persistent droughts can shatter an economy and even cause famine and sociopolitical upheaval in some countries. How does one define a drought? Usually, either precipitation or a form of drought impact is used to define a drought. Because precipitation and drought impacts vary spatially, there is a geographical dimension to definitions of drought. In Saudi Arabia or Libya, droughts are recognized after two to three years without significant rainfall, whereas in Bali (Indonesia), any period of six days or more without rain is considered drought (Dracup et al., 1980; Sen, 1990). In Egypt, any year in which the Nile does not flood is considered a drought year. More than 150 definitions of drought are available in the literature (Gibbs, 1975; Krishnan, 1979; Dracup et al., 1980; Wilhite and Glantz, 1987). For example, a drought can be characterized as climatological, meteorological, water management, socioeconomic, absolute, partial, dry spell, serious, severe, multiyear, design, critical, point, or regional (Palmer, 1965; Herbst et al., 1966; Joseph, 1970a, 1970b; Askew et al., 1971; Beard and Kubik, 1972; Karl, 1983; Santos, 1983; Alley, 1984; Chang, 1990). Often, the difference between an estimated water demand and an expected water supply in a region becomes the basis to define a drought for that region (Kumar and Panu, 1997). A few of the chapters in this book provide a brief description of drought definitions that have been adopted in some countries. Despite the variation in drought definitions, a drought is broadly categorized as meteorological, hydrological, agricultural, or socioeconomic. A meteorological drought is said to occur when seasonal or annual precipitation falls below its long-term average.
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Conterio, Martyn. "Black Sunday’s Legacy." In Black Sunday, 85–94. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.003.0007.

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This chapter discusses Black Sunday's influence that was not only felt in the movies. It mentions Marvel man Jack Kirby that used the central Mask of Satan image and the character Javuto as inspiration for Doctor Doom, including the backstory of being the son of an Eastern European witch. It also talks about Black Sunday's influence on Tobe Hooper's Lifeforce in 1985, which featured a gorgeous and completely naked female vampire that is awoken from her slumber. The chapter emphasizes how the Mario Bavian imagery can be detected in a range of contemporary movies and television shows, such as Joss Whedon's Buffy the Vampire Slayer, that was aired from 1997 to 2003. It cites Francis Ford Coppola's 1992 feature, Bram Stoker's Dracula that could be retitled 'Mario Bava's Dracula'.
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Dixon, Wheeler Winston. "The Gothic Impulse – Vampirism." In The Films of Terence Fisher, 237–80. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.003.0006.

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This chapter analyses how Terrence Fisher's and Hammer Studios's use of a mechanistic medium to distribute film mirrors the use of the printing press to first publish the “Penny Dreadfuls” in Victorian England. It mentions James B. Twitchell, who notes in his study Dreadful Pleasures that the key to the central elements of the Gothic mythos for the public is “repeatable image-making”. It also notes Fisher as the first Gothicist to have precisely the right censorial climate and the sensibility to be able to translate the term “implicit” to the screen. The chapter discusses how Fisher adamantly stated in a 1975 interview that he had not originated either Dracula or The Curse of Frankenstein as a project. It looks at Fisher's insistence to have very little input on casting in Dracula, which was subordinate to his interests in the narrative.
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Guarneri, Michael. "Male Vampires." In Vampires in Italian Cinema, 1956-1975, 107–24. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0005.

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The chapter zooms in on the cultural instrumentality of the vampire metaphor in Italy by studying Italian-made vampire movies as struggles for gender definition and domination that reflect the zeitgeist of post-war Italy, when a perceived decline in masculine authority due to the vicissitudes of World War Two, the hardships of reconstruction and the post-1958 neocapitalist consumerism went hand in hand with women’s ever-increasing challenges to traditional gender roles. The chapter ventures into the so-far uncharted territory of the Italian male vampires that populate horror parodies, straightforward horrors and horror-tinged adventures. It investigates how, within a masculinity-in-crisis framework, Italian makeshift Draculas act as champions of traditional virility, irresistible Latin lovers and tyrannical patres familias seeking to reassure Italian men of their gender leadership.
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Walden, Victoria Grace. "The Fall of Hammer." In Studying Hammer Horror, 101–20. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781906733322.003.0008.

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This chapter describes how Alfred Hitchcock's Psycho (1960) set a new precedent for horror which eventually posed a serious threat to Hammer Films. It was set in modern times and featured a human killer. While a spate of companies created Hammer imitations, fantasy horror was gradually to be replaced by a gritty, modern variation. Hammer tried several strategies to compete with the emerging modern horror style, but sadly failed as they gradually lost American backing. These techniques can be seen in The Devil Rides Out (1968), which gives horror a human face with an occult setting in the 1920s; Dracula A.D. 1972 (1972) set in contemporary London and Hammer's first (and only) film to focus on a group of modern teenagers; and finally The Legend of the 7 Golden Vampires, a transnational production which hybridises the then-popular kung fu craze with classic Hammer horror.
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Dixon, Wheeler Winston. "Six Late Films." In The Films of Terence Fisher, 303–76. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.003.0008.

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This chapter talks about The Hound of the Baskervilles in 1959, which was an unusual project for Terrence Fisher in many ways and represents one of two Sherlock Holmes films he made. It analyses how The Hound of the Baskervilles became known as a film from Hammer's finest period that took advantage of the usual Hammer expertise of that era. It also discusses Fisher's Dracula and The Hound of the Baskervilles, which are films that deal with legendary manifestations of evil and begin with lengthy, narrated flashbacks. The chapter describes Fisher's skill in designing shots, which he manages to accomplish with style, intelligence, and economy. It looks at Fisher's modesty that is apparent when he does not hesitate to interrupt the shot a number of times, rather than leave it intact as a “stunt”.
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