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Academic literature on the topic 'Dracula films'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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Journal articles on the topic "Dracula films"

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Garcia, Yuri. "Constructing the Vampire Myth in Cinema: A Short Analysis of Nosferatu (1922), Dracula (1931) and Dracula (1958)." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 115–28. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.7.

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The present work aims to present a brief analysis of the films Noseferatu (1922), Dracula (1931) and Dracula (1958). Our hypothesis is that these productions are the core of cinematic vampirical mythology in our culture. The idea of what would be a vampire can be traced through ancient myths along different cultures and was highlighted through urban legends in the middle ages. But it was only after Bram Stoker’s Dracula (1897) that this character started to take o more delimited form. If Stoker’s novel can be a species of basis for the vampire myth, cinema would take this entity to a hole new level. In an audio-visual medium, Dracula stood as the most famous vampire and these three films would be the most important to start to form the figure of mediatic (and most of all, cinematic) vampire.

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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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Fuanda, Nofiyanti. "REFORMULATING DRACULA IN THE EARLY 21ST CENTURY: GENRE ANALYSIS OF 24 VAMPIRE FILMS." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 46. http://dx.doi.org/10.22146/rubikon.v3i2.34269.

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The vampire is a phenomenon in western literature and culture. As many literary works featuring vampire are produced every year and continue to interest of the audiences, the creature becomes even embedded in the heart of not only western people, but also most people in the world. Currently, the researches on the creature either as a part of the myth or a character in literary works is so booming. They conclude that there is transformation of vampire both in myth and literary work. The research on literary works mostly generalizes vampire and Dracula as similar terms referring to blood sucker in general. In fact, those two terms actually refer to different signifieds. Therefore, this research aims to discuss specifically the development of literary works, especially films featuring the Dracula character since Stoker’s story is still adapted in the current era. The discussion focuses on the conventions and inventions of Dracula films in the early twenty first century and how those new formulas are related to the social background. This research is qualitative research and data are collected from the library. In addition, the basic theory used is genre analysis which situates texts within textual and social contexts. In the field of American Studies, such analysis is relevant to McDowell’s theory of “past, present and future” which supports interdisciplinary studies of time development.As the finding of the research on twenty four films produced during 2000 to 2014 the researcher concludes that most of them mix the elements of some genres. There are eleven pure horror Dracula films, eight horror action, two horror drama, one horror adventure, one horror sci-fi, and one horror romance. Furthermore, the researcher found five formula inventions including: 1. the shifting themes which include the emergence of science and the blurring of sexuality; 2. the variation of the stereotypical characters which includes the turn of the villain into hero and the challenge of women as heroes; 3. the changing motive; 4. the variation of setting, and 5. the replacement of properties. In the further analysis, the development of the formulas is certainly the result of the mixing genres, and also the response to two major issues flourishes in today’s era such as the issue of modernity and rationality and the phenomenon of ‘New Women’ and ‘Now Women.’Keywords: vampire, Dracula, formula, convention, invention

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Leicester, H. Marshall. "Hammer re-reads Dracula: The second time as farce, or, keeping a stiff upper lip in the ruins." Horror Studies 14, no. 1 (April 1, 2023): 135–52. http://dx.doi.org/10.1386/host_00066_1.

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This interpretation questions the standard critical assumptions about Hammer Studios’ Dracula that despite its transient improprieties, Dracula offered audiences temporary refuge from the strains of contemporary British life by having absolute good (vampire hunters) triumphing over (absolute evil) vampire. My reading explores the film’s agency through its self-conscious relation to its pre-texts in novel and films, showing how its plot conspicuously alters former cultural expectations and assumptions about the ‘rules’ of vampirism. This deliberate slippage in the stability of prior conventions generates tension between two modes of reading Dracula – as a conventional horror movie about the melodramatic struggle between good and evil – or a depiction of domestic life as a tissue of improvisations that highlight the instabilities and contradictions of desire and gender, family organization, personal and class relations. This article shows how Dracula gradually shifts emphasis from the melodrama to agential improvisation, re-reading the horror movie and its pretensions in order to blur the distinctions between good and evil in both its imagined Victorian fiction and modern life.

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Kim, Jeong Hwan. "From Historical Archetype to Storytelling Variant, A Study on Developing Contents of Vlad Ţepeş." East European and Balkan Institute 46, no. 4 (November 30, 2022): 27–58. http://dx.doi.org/10.19170/eebs.2022.46.4.27.

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Dracula, created in 1897 by Bram Stoker, is a fictional character born based on the legendary figure of Valahia(Walachia) in the 15th century, Vlad Ţepeş, the lord of medieval Romania, and the vampire myth that prevailed throughout Europe in the 19th century. Vlad Ţepeş, a historical real person and cultural archetype, goes through the first transformation process of a novel in the realm of literature, and then spreads around the world through three-dimensional complex arts such as plays and films. And in modern time, thanks to the supply and spread of the internet, it has been expanded and reproduced in accordance with popularization codes of culture such as animation, webtoon, game, and storytelling variants of virtual media. The historical prototype ‘Vlad Ţepeş’ and the cultural content prototype ‘Dracula’ have a completely different concept of otherness(the other) through the fictitious process of novels and films. If Ţepeş is located in the same historical identity defined by awareness, consciousness, and consistency, the otherness of Ţepeş, that is, Dracula, is an existence that is not captured by this consistency, implying the otherness as a supernatural spirituality(eternal life) like a vampire born in the Victorian era. Traditional genres such as novels, movies, and musicals, as well as cartoons and animations based on digital content, games and virtual media also utilize Dracula and its progenitor, Vlad Ţepeş, as the storytelling source of OSMU(One Source Multi Use). Dracula, a fictional entity, has become a legend and a modern myth in the world beyond the borders of Romania, regardless of the intentions of his prototype, Vlad Ţepeş, and is constantly being transformed and created in response to the demands of time and space and the development of internet and virtual media technology.

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Mendíbil, Álex. "Superimpositions and Vampires in Jess Franco’s Cinema." Comparative Cinema 10, no. 19 (March 31, 2023): 10–26. http://dx.doi.org/10.31009/cc.2022.v10.i19.02.

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Within fantastic and horror cinema, the technique of superimposing images has played a fundamental role since its inception when it comes to representing the supernatural. In this text we will focus on the adaptations of Bram Stoker’s Dracula in a range of vampire films, which, starting with Murnau’s Nosferatu (Nosferatu, eine Symphonie des Grauens, 1922), have their own peculiarities in the use of superimposition as a visual effect. To delve into the effectiveness and narrative uses of the technique, we will compare two films that adapt the novel from very different times and perspectives: Count Dracula (El conde Drácula, 1969) and Vampire Blues (Los blues del vampiro, 1999), both directed by Jesús “Jess” Franco. We will distinguish the superimposition made in 35mm and the technique that digital video allows today, and we will analyze the technical and rhetorical functions that this device performs in the narrative levels of the story and the discourse of both titles.

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GÖLZ, Peter. "Nosferatu’s Cats, or: The Birth of the Cinematic Pandemic Vampire." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 129–40. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.8.

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This paper looks at how the three Nosferatu films by Friedrich Wilhelm Murnau, Werner Herzog, and E. Elias Merhige have influenced presentations of vampires and established the Nosferatu figure as a cinematic counterpart to the literary Dracula. In addition, all three films establish the pandemic theme early on in a genre-defining scene, featuring the female protagonist and one or more cats. The significance of the cat scenes is analyzed both in terms of the final film versions as well as in relation to the original scripts and other source materials, which show the significant changes that were made. Spanning the full spectrum of genre films from their experimental to their baroque stages, the three Nosferatu films present a unique type of vampire, which is particularly relevant for our present times.

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Čiočytė, Dalia. "The Concept of the Demonic in Herkus Kunčius’s Novella A Most Loyal Metaphysical Friend and Marius Ivaškevičius’s Drama The Mistr." Colloquia 39 (December 20, 2017): 35–51. http://dx.doi.org/10.51554/col.2017.28719.

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There are two works of contemporary Lithuanian literature that effectively explore the theme of the demonic: Herkus Kunčius’s novella A Most Loyal Metaphysical Friend (Ištikimiausias metafizinis draugas, 2010) and the play The Mistr (Mistras, 2010), by Marius Ivaškevičius. The author of this article examines how these two works modify the traditional literary concept of the demonic – both works present the demonic not in classical, transcendental terms but as an immanent force. Considering the works from the perspective of literary theology, the author asks whether, and which kind of, theological thinking they develop.Herkus Kunčius’s novella is a postmodern metafiction (a fiction about a fiction): the central character of the narrative is the legendary Transylvanian vampire Count Dracula, the main character in Irish writer Bram Stoker’s gothic novel Dracula (1897). Kunčius’s Dracula is the creation of another character’s unhealthy consciousness – a “creation within a creation.” A parody of horror novels, films, etc. about vampires, the novella also parodies the language of psychiatrists, the characters who develop an idea about the demonic as an untreatable psychiatric illness: in the nihilistic reality of the work there simply is no one to treat it.Marius Ivaškevičius’s drama is a tragi-comical grotesque pasted together from Lithuanian historical and cultural symbols and analyzes the person of Adomas Mickevičius (1798–1855). In religious and cultural history, the prototype for Mistr in the play – Andrzej Towiański (1799–1878), a self-proclaimed prophet, “a mistr called by God” – represents the archetypical figure of the false prophet. The main meaning accorded to the demonic as represented in Ivaškevičius’s play is the demonic nature of political oppression: the work offers an original variation on the entanglement of political aggression and the demonic typically found in Lithuanian literature.

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Pheasant-Kelly, Fran. "Supernatural surveillance and blood-borne disease in Bram Stoker's Dracula: Reflections on mesmerism and HIV." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 9–24. http://dx.doi.org/10.1386/nl_00002_1.

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Abstract Surveillance and/or voyeuristic viewing are central to certain horror productions and are often related to control and dominance. While such modes of looking are usually less obvious in the vampire film, the vampiric gaze nonetheless exerts a more definitive and immediate effect, causing its victims to fall prey to inevitable death and an extended afterlife. Although all vampire films tend to exploit these mesmeric aspects of Victorian culture, Bram Stoker's Dracula (1992), directed by Frances Ford Coppola, progresses the notion of 'supernatural surveillance'. Coppola uses numerous creative visual techniques to accentuate the attention to eyes, notably in scenes that are linked to sexual desire and promiscuity. If the original novel implicitly reflected contemporaneous fears of venereal infection, namely syphilis, then Coppola's film is preoccupied with AIDS. This essay argues that the film's attention to eyes and the gaze not only reflects the mesmerism associated with Victorian culture but also resonates with new forms of socio-cultural watchfulness emerging in the AIDS era of the twentieth century.

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Rawski, Jakub. "Kierunki interpretacji motywu wampira w wybranych tekstach kultury od XIX do XXI wieku (rekonesans)." Studia Litteraria 16, no. 1 (2021): 29–48. http://dx.doi.org/10.4467/20843933st.21.003.13383.

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Artykuł ma na celu przedstawienie przeglądu kierunków interpretacji motywu wampira w kulturze popularnej od XIX do XXI wieku. Skupia się na najważniejszych, najbardziej reprezentatywnych tekstach, które wywarły największy wpływ na ewolucję postaci wampira od romantyzmu do czasów współczesnych, takich jak: Dracula, Miasteczko Salem, Wywiad z wampirem, Zmierzch. Zamierzeniem było ukazanie różnych sposobów odczytywania i analizowania wampiryzmu w zależności od przyjętej metodologii. Niewątpliwie – tytułowe kierunki interpretacji utworów wampirycznych były warunkowane możliwościami egzegetycznymi, jakie niesie metodologiczny rozwój literaturoznawstwa i kulturoznawstwa. Directions in Interpretation of the Vampire Theme in Selected Texts of Culture from the 19th to the 21st Century (Reconnaissance) The article aims at offering an overview of directions of interpretation regarding the motif of vampire in popular literature from the 19th to the 21st century. It focuses on the most important, representative texts of culture that have had the greatest influence on the evolution of the vampire figure from Romanticism to the modern times, such as Dracula, Salem’s Lot, Interview with the Vampire, Twilight. The article intends to present various ways of reading and analysing vampirism depending on different methodologies. Undoubtedly, the approaches regarding interpretations of films and literary works featuring vampires have been conditioned by exegetical possibilities brought about by the methodological development in literary and cultural studies.

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Dissertations / Theses on the topic "Dracula films"

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Tso, Wing-bo, and 曹穎寶. "Representation of female vampires in Bram Stoker's "Dracula" and horror films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.

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Kemlo, Justine. "A systemic-functional framework for the multimodal analysis of adaptation: the case example of Dracula." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209633.

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This thesis proposes a multimodal systemic functional model for adaptation. Its aim is to provide the analyst with wider insight into the process(es) of adaptation but also with a complex yet manageable apparatus which enables comparison and articulation of these comparisons over and above intersemiotic boundaries. The model has been applied to the case example of Bram Stoker's novel Dracula and seven different film adaptations.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Petrikis, Titus. "Creating a sound world for Dracula (Browning, 1931)." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.

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The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s film remains a significant filmic event, despite its noisy original soundtrack and the absence of music. In this study Dracula’s original dialogue has been revoiced, and the film has been scored with new sound design and music, becoming part of a larger, contextual composition. This creative practice-based research explores the potential convergence of film sound and music, and the potential for additional meaning to be created by a multi-channel composition outside the dramatic trajectory of Dracula. This research also offers an analysis of how a multi-channel composition may enhance or change the way an audience reads the film. The audiovisual composition is original, but it uses an existing feature film as an element of the new art piece. Browning’s Dracula gains a new interpretation due to the semantic meaning provided by associations with major cataclysmic events of the 20th century, namely the rise of two totalitarian powers in Europe. The new soundtrack includes samples from the original that are modified, synthesised and re-worked: elements of historical speeches; quotes from Stoker’s Dracula; references to the sounds of the time period (Nazi rallies, warfare, Soviet prosecution), and the original recordings of Transylvania (similar to the geographical location and season Stoker describes in Dracula). 1 Dracula (in italics) will refer to Browning’s film (1931) throughout this paper. The soundtrack composition also includes elements of a new, specially composed Requiem, which share the same sonic and musical expression tools: music language, varying sound pitch, time stretch, granular synthesising, and vocal techniques such as singing, speech, whispering, etc.).

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Bahrman, Alexander. "En påle genom Dracula-filmernas hjärta? : En komparativ analys av adaptationer av Bram Stokers Dracula (1897) från åren 2000-2014." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295233.

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En komparativ analys av adaptationer av Bram Stokers Dracula (1897) från åren 2000-2014 med syfte att undersöka resultatet av nästan 100 år av adaptationer och ett mål för att verkställa om en filmkanon har skapats kring karaktären.

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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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Unbeck, Erika. "Vampyrer på filmduken : En fallstudie av hur vampyrer skildrars genom tiderna." Thesis, Linnaeus University, School of Language and Literature, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6884.

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En c-uppsats där det gjorts en fallstudie med sju filmer som visar upp vampyren med fyra olika analyspunkter;

Utseende - Hur de ser ut, beter sig samt rörelsemönster
Egenskaper - vilka egenskaper som visas samt nyttan dessa tillför
Konventioner - människans skydd mot vampyren, vampyrens reaktion samt dess död
Bettet och förvandlingen - förvandlingen från människa till vampyr

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Gruber, Martin [Verfasser], Dorle [Akademischer Betreuer] Dracklé, and Peter [Akademischer Betreuer] Crawford. "Liparu Lyetu - Our Life : Participatory Ethnographic Filmmaking in Applied Contexts [[Elektronische Ressource]] / Martin Gruber. Gutachter: Dorle Dracklé ; Peter Crawford. Betreuer: Dorle Dracklé." Bremen : Staats- und Universitätsbibliothek Bremen, 2015. http://d-nb.info/1072304201/34.

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England, Nancy Faye Rosenberg. "Establishing a Dracula film genre Key texts, antecedents, and offspring /." 2009. http://hdl.handle.net/10106/2057.

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VLÁŠKOVÁ, Michaela. "Filmové reprezentace Draculy. Proměny pojetí postavy ve filmových adaptacích." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-375710.

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The thesis analyse methods of adaptation Dracula character by using five movies in chronological order. The heart of the thesis follows changes of the character in order to relationship with other characters of the movie, also in order to narrative and ideological changes. The thesis also considers differences between individual movies and what part Dracula character takes in it.

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Vohoang, Fabrice Nam. "Le 19e siècle et la Fantasmagorie du cinéma : image spectrale, temps hanté et vampire cinématographique." Mémoire, 2011. http://www.archipel.uqam.ca/4243/1/M12155.pdf.

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Le projet de mémoire cherche à retrouver les influences de la Fantasmagorie du 19e siècle dans le cinéma d'aujourd'hui, en particulier dans le genre du film de vampire. Nous abordons les procédés et techniques optiques qui mettent en images l'expérience d'un monde en proie à de grands changements sociohistoriques, et surtout, comment le cinéma a intégré ces données. L'imaginaire fantasmagorique a conditionné l'émergence des techniques optiques qui ont mené au cinématographe, et en cela, le médium cinématographique est bien emblématique de cette époque caractérisée par l'industrialisation et le retour d'un passé laissé en arrière par la modernité historique. Le cinéma, comme dispositif comprenant machine, image et sujet regardant, est mis en relation avec les dispositifs optiques du théâtre d'ombre, de la lanterne magique de Robertson et de la photographie, pour ainsi faire émerger le contexte technique, historique et psychologique de l'époque. Nous mettons l'accent sur les notions visuelles de l'apparition, de la projection et de la réification afin de souligner le retour d'un ancien regard qui prévalait avant l'arrivée de l'image mécanisée. En somme, lors des deux premières parties, c'est à l'Histoire moderne, son temps linéaire et la hantise qu'ils provoquent, que le cinéma sera relié. C'est à travers la figure du vampire que nous examinerons le cinéma; cette créature fantastique entretient bien des affinités métaphoriques avec le médium et elle nous permet d'entrevoir clairement toute la Fantasmagorie du 7e art. Avec un corpus filmique incluant certains films découlant du roman Dracula de Bram Stoker, nous allons voir comment la technologie du 19e siècle dévoile l'aspect mythique de la pensée rationnelle et moderne. L'image, dans sa grande tradition cultuelle ou/et artistique, semble répondre à des impératifs inconscients et archaïques, à des fantasmes premiers devant la mort et l'éternité, même si elle est produite par un appareil mécanique. C'est en cela que la technique moderne arbore des qualités fantasmagoriques qui, tout comme le vampire, nous remettent en contact avec ce que la civilisation occidentale a refoulé. Notre attention est donc portée avec insistance sur les façons dont l'image filmique et le regard qu'elle convoque, font resurgir d'anciens modes de perception et d'interprétation illusoirement relégués à l'époque pré-moderne. ______________________________________________________________________________

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Books on the topic "Dracula films"

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Dracula in the dark: The Dracula film adaptations. Westport, Conn: Greenwood Press, 1997.

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Dracula. London: I.B. Tauris, 2003.

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Dracula. Palermo: L'epos, 2007.

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Cremonini, Giorgio. Dracula. Palermo: L'epos, 2007.

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Elizabeth, Miller. Dracula. New York: Parkstone, 2000.

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Haworth-Maden, Clare. The essential Dracula. New York: Crescent Books, 1992.

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Bob, Madison, ed. Dracula: The first hundred years. Baltimore, Md: Midnight Marquee Press, 1997.

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World, Book Inc. Searching for the real Dracula. Chicago, Illinois: World Book, Inc., 2015.

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Saberhagen, Fred. Dracula. [Paris]: Presses de la Cité, 1992.

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Pozzuoli, Alain. La bible Dracula: Dictionnaire du vampire. Paris: Le Pré aux clercs, 2010.

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Book chapters on the topic "Dracula films"

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Rhodes, Gary D. "The Universal Dracula Films." In The Palgrave Handbook of the Vampire, 1–13. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-82301-6_17-1.

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Mclaughlin, Robert. "Representations of Dracula the Vampiric Within Genndy Tartakovsky’s Quartet of Films (2012–2022)." In The Palgrave Handbook of the Vampire, 1–15. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-82301-6_63-1.

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Iyer, Usha. "Nevla as Dracula: Figurations of the Tantric as Monster in the Hindi Horror Film." In Figurations in Indian Film, 101–15. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137349781_6.

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Browning, Tod. "Dracula." In 100 American Horror Films. The British Film Institute, 2022. http://dx.doi.org/10.5040/9781839021428.0032.

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Coppola, Francis Ford. "Bram Stoker’s Dracula." In 100 American Horror Films. The British Film Institute, 2022. http://dx.doi.org/10.5040/9781839021428.0014.

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Smith, Iain Robert. "‘For the Dead Travel Fast’: The Transnational Afterlives of Dracula." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0005.

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Since the publication of Bram Stoker’s novel Dracula in 1897, the character of Count Dracula has proven to be eminently adaptable, appearing in various guises in over 300 feature films – from FW Murnau’s Nosferatu (1922) through to Dario Argento’s Dracula 3D (2012). As with other iconic characters such as Sherlock Holmes and Batman, Dracula has been freed from his roots in a source text and entered what Will Brooker describes as ‘the realm of the icon’. Yet, while there has been a considerable amount of scholarship on the canonical adaptations of Dracula produced in Hollywood, the UK and Germany, very little has been written on the numerous adaptations of the Count Dracula character that have appeared in other film industries. This chapter considers examples of transnational film remakes, including the 1953 Turkish film Drakula İstanbul'da (Dracula in Istanbul), the 1957 Mexican film El Vampiro (The Vampire), and the 1967 Pakistani film Zinda Laash (The Living Corpse). Paying close attention to the variety of ways in which the character is utilised across different cultural contexts, this chapter interrogates the complex issues that this raises in relation to the dynamic interplay of global and local within international popular cinema.

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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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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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Serrano, Carmen. "Revamping Dracula on the Mexican Silver Screen." In Vampires and Zombies. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496804747.003.0008.

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This chapter explores Mexican vampire movies of the 1950s and follows the vampire’s journey from the Americas to Europe and back in order to analyze the ways in which the monster is articulated in each cultural context. The specific Mexican articulation of the vampire in Fernando Méndez’sEl vampiro is modeled after Hollywood films, yet the film carries nuanced meaning having to do with national identity and borders. In this film, the vampire is a menacing figure that arrives seeking to infect, invade, and conquer. At the same time, he is potentially a subversive other that transgresses borders and threatens stability, an agent that expresses certain cultural fears at very specific social and political crossroads.

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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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Conference papers on the topic "Dracula films"

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Shajani, Nafiseh. "MILLENNIAL REPRESENTATIONS OF MEDIEVAL RELIGIOUS SCHISM IN WESTERN MEDIA: An Iconographic Analysis of Dante�s Inferno 28 and the Twenty-First Century Films Dracula Untold and Kingdom of Heaven." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.11.

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