By James C. Holte
One hundred years after his construction by means of Bram Stoker, Dracula continues to be interesting us. This examine lines the altering nature of movie representations of Dracula, from the early silent diversifications to contemporary renowned dramas. Holte means that vampire movies and Dracula diversifications became an self sufficient style, the darkish romance, with its personal set of narrative conventions and viewers expectancies combining horror and eroticism. This attractive examine offers readers with a common heritage of the vampire, an exam of the paintings of Bram Stoker, a background and research of many movie variations of Dracula, a survey of up to date feedback and idea, and an in depth annotated bibliography of vampire movie, fiction, and criticism.
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Additional info for Dracula in the Dark: The Dracula Film Adaptations
A growing number of contemporary critics and scholars, however, have discovered both significance and craft in Stoker’s narrative and have, in the process, suggested that the tale of terror, as a modern variation of the morality play, is an important literary genre. In his study of the aesthetics of horror fiction, The Delights of Terror (1987), Terry Heller establishes a theoretical approach to the study of the literature of terror and horror. Heller defines terror as “the fear that harm will come to oneself” (19) and horror as “the emotion that one feels in anticipating harm coming to others for whom ones cares” (19).
The confrontation at the castle also follows Stoker’s description, except that Murnau omits the female vampires completely. In Murnau’s film the confrontation between good and evil, vampire and victim, is personal, and Orlock requires no mediating ladies to threaten Hutter. In one of the most effectively edited parallel sequences in film history, Murnau crosscuts among individual sequences of Orlock’s departure and transport aboard the ship, ironically called the Demeter, the classical Greek goddess of fruitful earth and social order; Hutter’s escape and return to Bremen; Knock’s descent into madness; and Bulwer’s experiments with vampirism in nature.
In 1914 Florence Stoker released a number of her husband’s previously unpublished works, in a volume entitled Dracula’s Guest—and Other Weird Stories . Most of Stoker’s writing is unremarkable, although it sold well during Stoker’s lifetime. His early fiction, Under the Sunset, The People, The Snake’s Pass, The Watter’s Mou, and The Shoulder of Shasta, are justly forgotten by all but the most enthusiastic students of Stoker’s work. Some of his other fiction, however, remains worth reading; Dracula is not, as was once thought, the one good book of a mediocre writer.
Dracula in the Dark: The Dracula Film Adaptations by James C. Holte