By Stacey Abbott
During this wonderful and soaking up paintings, writer Stacey Abbott demanding situations the normal 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 mild of latest Technology
3. From Hollywood Gothic to Hammer Horror: the fashionable Evolution of Dracula
Part : The start of the trendy 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. distinct make-up results and Exploding Vampires
Part 3: Reconfiguring the city Vampire
8. ny and the Vampire Fl neuse
9. Vampire street video clips: From Modernity to Postmodernity
10. l. a.: Fangs, Gangs, and Vampireland
Part 4: Redefining obstacles
11. Vampire Cyborgs
12. Vampires in a without borders international
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Additional resources for Celluloid Vampires: Life After Death in the Modern World
He had narrowly escaped being run over at a crossing by a charging van, for he hated to hurry his steps, and indeed the afternoon was warm; and he had just halted by a place of popular refreshment, when the astounding gestures of a well-dressed individual on the opposite pavement held him enchanted and gasping like a fish. 21 In the above passage, the protagonist walks through the London streets, looking both left and right, observing all of the action around him. 22 His pace is leisurely and his aim is observation but from within the crowd and not from outside.
He reinvents the vampire through the language and imagery of modern technology and electrical sciences. The ability of the vampires to transform themselves mirrors the shared characteristic of these new technologies, all of which are based upon the conversion of the physical from one form to another. When describing the operation of the telephone, F. J. Garbit stated that “the fact is that it is one of the most beautiful and striking examples which nature affords us of the convertibility of forces from one form to another” 57 and it is these same forces that enable the vampire to transform itself from man to animal to mist as demonstrated in the following two passages from Dracula: We all looked on in horrified amazement as we saw, when he stood back, the woman [Lucy], with a corporeal body as real at the moment as our own, pass in through the interstice where scarce a knife-blade could have gone.
The emphasis upon seeing and eyes in this and other passages illustrates Jonathan’s dependence upon the empirical grounding of positivist knowledge to understand all that surrounds him. As he witnesses and records events in his diary that increasingly defy his understanding of the laws of nature, he begins to doubt his own vision and sanity rather than accept the inexplicable. When Dracula lunges at Jonathan at the sight of blood from a razor cut, Jonathan notes that Dracula’s return to a civilized demeanor was so quick as to make him doubt that the threat had existed (26).
Celluloid Vampires: Life After Death in the Modern World by Stacey Abbott