Beruflich Dokumente
Kultur Dokumente
RCL 137
Section 11
9 November 2016
For almost a century, the blood sucking mythical creatures commonly referred to as
vampires have been gracing movie and television screens and receiving widespread acclaim.
Although vampires have remained pop culture icons throughout time, the image of and attitudes
towards these supernatural entities have endured a complete metamorphosis. Early versions of
vampires were presented as monster-like with sharp fangs, pointed ears, and pale skin.
Meanwhile, when millennials think of vampires, images of muscular, attractive men, with
chiseled features and unmatched appeal come to mind. Many have observed that There has been
a "general shift" from the vampire as exotic foreigner - as depicted in Romantic poetry in the
19th Century and most famously in Bram Stoker's 1897 novel Dracula - to the vampire as edgy
"outsider" (ONeill 2008). From 1931s Dracula to modern day series like Twilight, there
has been a paradigm shift within on-screen presentation of vampires appearance and personality
Primitive vampire depictions were drastically different from that of the 21st century. Early
vampires were thought to have risen from their graves. Therefore, many commoners took
extreme measures such as decapitation and putting a stake through the heart to prevent corpses
from becoming vampires. For example, a corpse could be considered a vampire if it did not
appear sufficiently dead (Kastenbaum 2002). Moreover, early blood suckers were depicted as
dirty, unfortunate creatures, who preyed upon livestock under the cover of nightfall. It has been
noted that Unlike the elegant Count Dracula, these revenants are foul-smelling and gross, as
might be expected from those who, partially decomposed, spend much of their time in a grave
(Katsenbaum 2002). This quotation illustrates the negative characteristics that were once
associated with vampirism. The transition from brutish monster to teen heartthrob has spanned
Evidence of the belief in vampires and vampire-like creatures have been seen since ancient
times and demonstrated by a variety of different cultures. Early folk stories revolving around
night walkers often reflected medical misunderstandings and ignorant paranoia. Often,
common diseases during the 18th and 19th century had side effects similar to characteristics
typically associated with vampires. For example, Porphyria has been nominated repeatedly as a
medical condition that produces pallor, giving the individual a somewhat bloodless appearance.
The victims are highly sensitive to sunlight and therefore are likely to adopt lifestyles resembling
the nocturnal vampire (Katsenbaum 2002). Moreover, many point to fears of being buried alive,
especially during times of disease, as a catalyst for the generation of vampire myths
(Kastenbaum 2002). These medical misconceptions and social beliefs engendered early
Perhaps one of the most lauded vampire tales of all time, Bram Stokers Dracula featured
protagonist Count Dracula and led to the creation of many commonly held generalizations about
vampires. For example, he resides in Transylvania and was marked by monstrous looks and
blood sucking abilities. The film adaptation of Dracula was released in 1931 and illustrates
important shifts in characterization that make the protagonist more similar to modern vampires
(Dracula 2003). Within the movie actor Bela Lugosi depicts Dracula as a more attractive and
distinguished foreigner, much different than the original folklore. It has been noted that From
this beginning, stories about Dracula, in film and television, in fiction and graphic novels, have
viewed the character as being part monster and part charmer (Dracula 2003). This quotation
expresses an ideal integral to the transformation of vampires and highlights how sexual allure has
been an important aspect to vampires for over a century. While sexuality was an important theme
within 1930s-era vampire constructs, Draculas utter brutality and murderous transgressions
override his human like allure. The film illustrates the lack of sympathy towards Dracula due to
his abundant killings (Dracula 2003). Overall, the literary work and film Dracula bridged the
gap between primitive vampire legends and modern vampire depictions through themes of
Victorian-era sexual undertones and vampire folklore were intertwined to create one of the
first popular works of vampire literature, Dracula. At the time of its publishing, there were
several overarching societal values that were incorporated into its plot. Men and women had
extremely defined and specific gender roles. For example, women were expected to be compliant
with their husbands and remain moral and pure (Dracula 2003). Similarly, these themes are
presented within Dracula in its presentation of female characters Mina and Lucy. These
women often remarked about women not being worthy of their male counterparts (Dracula
2003). Moreover, the 1931 film version of Dracula was adapted in accordance with the social
standards of the time. Because the film industry set strict limits on sexuality and violence during
this era, Dracula received a degree of pushback from Hollywood. Therefore, the plot was
presented in a fashion that complied with social norms of the time (Dracula 2003). Both the
literary work and film Dracula correspond to their respective time periods in their
presentations of vampires.
Vampires left their next substantial mark in popular culture with the release of Dark
Shadows in 1966. The series centers around Barnabas Collins, a vampire who shares traits
similar to more modern vampires. Themes of love and affection are once again present within the
program, with Barnabas in love with a human who he attempts to transform into a vampire and
spend eternity alongside (Moody 2003). In contrast, Dark Shadows illustrates vampires in a
different fashion than its predecessors: Cleverly, Barnabas was not depicted as a mere monster
but as a man tortured by his conscience (Moody 2013). This important distinction sets a
precedent for vampire television and film that follows Dark Shadows and shows a shift from
stepping stone for vampires in pop culture and generated new themes that have been carried out
in following series.
In a similar way to other vampire based series, Dark Shadows presented its characters in a
manner that mirrored the popular culture landscape of the 1960s. Often the root of controversy
due to its unique content, Dark Shadows rebelled against typical social standards of the time.
For example, during its time on the air it was constantly threatened with cancellation by the
management of ABC (Moody 2013). This quotation illustrates how Dark Shadows
challenged societal norms due to its unconventional nature, featuring vampires, ghosts, and other
mythical creatures. By the same token, the 1960s were a time during which television
increasingly featured unorthodox family dynamics. In this decade, society was first exposed to
The Munsters, The Beverly Hillbillies, and The Brady Bunch, which featured unusual
families and attracted widespread appeal (Endre 2014). These programs also represent a shift in
pop culture ideals that mirror social rebellion during the 1960s and 1970s, marked by the civil
and womens rights movements (Endre 2014). Dark Shadows not only is part of the paradigm
shift in relation to vampires, but also coincides with the social atmosphere of the time.
The 1980s put a unique spin on vampires that altered the path of popular cultures future
endeavors in film and television. The Lost Boys was a movie released in 1987 that presented
vampires for the first time in their form most similar to modern times. Instead of being presented
as monster like outsiders, the vampires in The Lost Boys live in California and are marked by
good looks and hip attitudes (Swanson 2012). These vampires were perceived as handsome
young bloodsuckers with chiseled cheekbones, cool clothes and attitude to spare were wilding
through the Northern California seaside resort of Santa Carla, a fictional town with the
ignominious title of Murder Capital of the World. (Swanson 2012). This quotation captures
the essence of vampires in the film and shows the drastic progression in portrayal that this movie
symbolizes. Now instead of appearing burdened and uncontrollably murderous, viewers almost
envied the lifestyle lived by these protagonists. The Lost Boys carries the indelible tagline:
Sleep all day. Party all night. Never grow old. Never die. Its fun to be a vampire (Swanson
2012). There is a clear distinction between this motto and previous programs such as Dracula
and Dark Shadows where vampires suffer from their nature. This film sculpted the modern
perception of a vampire and inspired many works to come, thus it is essential to the paradigm
shift.
The film style of The Lost Boys reflects the rise of blockbuster films during the 1980s.
Starring popular actors of the time such as Corey Haim, Corey Feldman, and Kiefer Sutherland,
The Lost Boys featured vampires in a way that mirrored popular culture trends of the decade.
The 1980s were a time period where the film industry endured widespread expansion and classic
movies like The Breakfast Club and St. Elmos Fire first surfaced (Prince 2000). Although
reviews of The Lost Boys were not fantastic, the film was met with positive response from
young people and garnered box office success. To illustrate, (The Times called it a glossy
fiasco with most of the real blood sucked out of it) but found instant youth-culture currency
(and a strong box office of $32 million) (Swanson 2012). This quotation solidifies the notion
of large scale blockbuster success grounded in teenage support that was seen throughout the
decade. The Lost Boys incorporated a new take on vampires in giving them a new sense of
1997 sparked one of the biggest vampire crazes pop culture has seen to date with the release
of Buffy the Vampire Slayer. Within Buffy the Vampire Slayer many previous themes
associated with vampires are held constant in this series. For examples, Buffy does find herself in
a relationship with a vampire (Davis 2009). Within the show Theirs is the storybook, star-
crossed romance: He may keep his soul unless he experiences one moment where he ceases to be
plagued by the horrible acts he committed as the soul-less Angelus (Davis 2009). This quotation
mirrors previous vampire human love affairs and retains the theme of empathy towards regret-
ridden vampires. Buffy the Vampire Slayer also aids vampire personality progression in its
presentation of Angel, one of the main characters who is a vampire. Angel is described to have
had a conscience and a soul, and resisted the desire to drink human blood, living on pig's
blood instead. Angel is also an example of the decent, desirable vampire, who even assists (and
flirts) with the vampire slayer (ONeill 2008). In the past, vampires seldom suppressed their
human blood thirst or assisted in efforts to kill other vampires. Buffy the Vampire started a
Buffy the Vampire Slayer not only represented a shift in vampire television, but also altered
gender related stereotypes associated with the genre. Buffy is a high school aged female who
discovers she has the ability to hunt and kill vampires. This idea alone is vastly different from
preceding shows in that the females are usually presented as weak victims (Davis 2009). Buffy
the Vampire Slayer defies conventional gender roles and shows Buffy as strong and not led
astray by love. Buffys characterization coincides with the progression of the feminist movement
throughout the 1990s. Within this decade, the prominence of gender roles began to dwindle
along with discrimination towards women in the workplace (Gender Issues 2001). Buffy
reflects these changing attitudes and the series itself is molded by the social setting surrounding
it.
Complete with four novels and five movies, the Twilight franchise took the world by storm
and created a worldwide vampire phenomenon. Stephanie Meyers novels tell the love story of
Bella, a high school student in Forks, Washington, and Edward Cullen, a 100-year-old vampire
(Furness 2013). The series is Characterized by a gothic tone and lengthy passages of
description, the novel focuses on Bella's obsession with Edward, the passion both of them fight,
and the circumstances that conspire to keep them apart (Furness 2013). Once again, this series
illustrates a mortal-immortal love connection with its own set of difficulties. Many have noted
how Twilight shares common themes of romance and sex spanning all the way back to
Dracula (Furness 2013). Moreover, Twilight marks the complete metamorphosis of public
vampire perception. Edward Cullen and his family are presented in a manner very different from
past vampires. For example, Meyers vampires can be exposed to sunlight, although their skin
sparkles in the sun, and resist temptation to feed off of humans (Furness 2013). The vampires in
Twilight also are depicted as extremely beautiful, cool, and wealthy; very different than past
portrayals (Furness 2013). Additionally, there is a vast discrepancy between the behavior of
Edward Cullen versus that of other vampires. Readers and viewers have observed that It seems
the vampire is no longer a marauding hunter of unsuspecting humans; instead he is a symbol of
celibacy and common sense (ONeill 2008). This quotation highlights the complete
transformation vampires have endured throughout the years, as this description is the complete
opposite of how these mythical creatures were initially perceived. Twilight represents one of
the most recent examples of vampires in popular culture and illustrates how far these blood
sucking monsters have come over the past one hundred years.
Twilight incorporates vampires in a fashion that appeals to teenagers in keeping with the
21st century young adult fiction revolution. The 2000s have seen a rise in teen targeted novels
that has been called a second "golden age of young adult fiction (Strickland 2015). This
quotation emphasizes the extent of recent book trends sweeping the nation. With series like
Harry Potter, The Hunger Games, and Divergent drawing vast fan bases, young people are
consuming fantasy driven plot lines more than ever. Many attribute the growth in young adult
fiction to the identity confusion and searching for sense of self typically associated with the teen
years (Strickland 2015). Nevertheless, Twilight feeds off of societys love for fiction and
presents its vampire love story in accordance with the popular culture environment of the 2000s.
Once a root of paranoia and the subject of horror films, vampires are now some of the
of vampire persona has symbolized a drastic change in popular culture. Starting with Bram
Stokers Dracula, human like traits have slowly been incorporated into the personalities of
these once monster-like entities. Since original vampire folklore told throughout time and 1897s
publishing of Dracula, vampires have come full-circle. Now with films like Twilight, society
observes that He's (the vampire is) a cool, handsome, trendy school student, and a "vegetarian
vampire" - that is, he resists his inner desire to drink human blood and feasts only on animals
instead (ONeill 2008). It is characterization like this that drives and has driven vampire
fascination among young people for decades. With teenagers struggling with their identity and
development of self, it is likely that young people connect with the flaws and struggles of
outsiders such as Count Dracula, Barnabas Collins, and Edward Cullen. The glamorized 21st
century society now has people falling in love with creatures as terrifying as vampires. Overall,
the evolution of vampires from murderous monster to attractive, edgy outsider illustrates a
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