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The vampire myth has been a part of human culture throughout recorded history. It has
existed in some form all over the world, predating ancient Egypt and persisting through modem
times. There has rarely been a person on earth who did not incorporate into their legends this
idea of a creature that absorbs the life of another into itself through the blood. The earliest
recorded evidence comes from Persia and Babylon, but the myth is found in all comers of the
world, from the Aztecs in Mexico to the Inuit in Alaska (Marigny 14). Whether or not these
cultures were in contact with each other or with anyone at all, the myth is present. The belief
most cultures (Melton 100). The famous Professor Van Helsing says so quite plainly in Bram
Stoker's Dracula: "For, let me tell you, he is known everywhere that men have been" (245).
Horror has been as much a part of mainstream filmmaking as of independent and schlock
production, and considered one of the pre-eminent figures of the classic horror film, the vampire
has proven to be a rich subject for the film and gaming industries. Dracula is a major character in
more movies than any other but Sherlock Holmes, and many early films were either based on the
novel of Dracula or closely derived from it. These included the landmark 1922 German silent
film Nosferatu, directed by F. W. Murnau and featuring the first film portrayal of Dracula—
although names and characters were intended to mimic Dracula's, Murnau could not obtain
permission to do so from Stoker's widow, and had to alter many aspects of the film. In addition
to this film was Universal's Dracula (1931), starring Béla Lugosi as the count in what was the
Over time, vampires have changed through literature and movies. In their origin, vampires were
seen as real threats to the Greeks, Romans, and the Ancient Egyptians. The fear spread to Europe
where vampires were some of the most intimidating figures in the Europeans lives. In these
times, vampires killed people and animals. They caused plagues and were associated with the
devil. Around the times of Stoker, when vampires started to become more popular, people took
their existence less seriously and soon they were seen only on film and on paper. Stories of
vampires are one of the oldest horror legends that are known to man, although they have been
modified over time, it has been great literature and films that have kept the myth alive.
Vampires as Oppressor of Women
Victorian Era was represented by such 19th-century ideals as devotion to family life,
public and private responsibility, and obedience to the law. Despite the great leadership showed
by a female leader in this era, women remain as passive component of the society. They became
the most common victims of vampires in novels and films. Their obedience and gentleness are
Nosferatu is motion picture based on the novel Dracula by British writer Bram Stoker.
Released in 1922, this German silent film was directed by F. W. Murnau and stars Max Schreck
as Count Orlok which is the director’s own version of Dracula. This was an unlicensed version of
Bram Stoker's Dracula, based so closely on the novel that the estate took legal action and won,
with all copies ordered to be destroyed. The well-known story involves a real estate agent who
travels from Britain to Transylvania, Romania, to broker a deal on behalf of a wealthy and
mysterious count who wishes to buy a second home in England. The count turns out to be a
vampire, a supernatural creature who maintains immortality by drinking human blood. He also
possesses superhuman strength and the ability to change into a bat, a rat, or a wisp of fog. In spite
of his diabolical powers, exposure to the rays of the sun is the undoing of this creature of the
night.
In this film, the depiction of the vampire, which is true to Eastern European legend—an
ugly, grotesquely, disfigured ‘living corpse’— was shown literally. Jonathan Harker sees the
mysterious nobleman (Count Orlok) as a strange, ancient, almost rodent-like man, with large
ears, pale skin, sharp teeth and long fingernails. This is how vampires were considered to have
The screen's very first vampire film, Nosferatu (1922), presented Count Orlock as a
"walking skeleton" of horror. His domed hairless scalp, pointed ears, and long tapering fingers
contributed to the "living corpse" appearance. As the film proceeded, Orlock's looks became
progressively more repellent; this, no doubt, was due to the vampire's surroundings of the
trappings of death—"funerals, disease, pestilence, even hordes of crawling rats following in his
The novel, which is the basis of the film, emphasizes the expected roles of men and
women in Victorian times. Women were expected to be gentle and ladylike and, most of all,
subservient to men. For example, the count has three wives (commonly referred as The Three
Female Vampires), who obediently serve and follow his commands. The three unnamed vampire
women first appear during Jonathan Harker's stay at Castle Dracula. They try to bite Jonathan but
are stopped by Dracula, who gives them a baby to eat instead. Near the end of the novel, they
leave the castle to try to coax Mina into joining them. However, Professor Van Helsing drives
them away and goes to the castle the next day, where he kills all three vampires. In addition to, in
one of her letters, Lucy notes, "My dear Mina, why are men so noble when we women are so
little worthy of them?" Lucy is frustrated that she has to choose between her three suitors and
does not wish to hurt any one of them by saying no. Lucy says, "Why can't they let a girl marry
three men, or as many as want her, and save all this trouble? But this is heresy, and I must not say
it." Women are expected to live for their husbands, so much so that Mina practices her shorthand
while Jonathan is away so that she can assist him when he gets back. Mina says, "When we are
at least gentlewomen, should be pure. As part of this, men were expected to respect a woman's
privacy and never burst in on her when they might catch her in an undressed state. Quincey notes
this when Professor Van Helsing says they need to break down the door to Mina's room. Quincey
states, "It is unusual to break into a lady's room!" However, as Van Helsing notes, in situations
where the woman might be in mortal danger, this rule should be broken. Van Helsing is worried,
rightly so, that Dracula might be attacking Mina. So he replies to Quincey, "You are always
There is a part of a film wherein the lonely Count is enchanted by a small portrait of
Jonathan's wife, Lucy, and immediately agrees to purchase the Wismar property, especially with
the knowledge that he and Lucy would become neighbours. Lucy later has an encounter with the
lonely Count Dracula. Weary and unable to die, he demands some of the love that she gave so
freely to Jonathan. Later on, Lucy finds that she can overcome Dracula's evil by distracting him
at dawn, but at the expense of her own life. Although at first Lucy rejects the count, she then later
lures the Count to her bedroom, where he proceeds to drink her blood. In accordance with the
mythology, Lucy's beauty and purity distract Dracula from the call of the cockerel, and the Count
is killed by the first light of the day. Van Helsing arrives to discover Lucy, dead but victorious.
He then finishes the Count off with a stake through the heart.
This shows that women are starting to gain power. They are not just suppressed,
especially by men. They prove that they are also capable of doing things those men can do and
that they deserve equal rights as of men’s. And during the 1920’s, Women’s Rights were made,
rights that establish the same social, economic, and political status for women as for men and
guarantee that women will not face discrimination on the basis of their sex.
Vampires as Image of Fascism, Nazism and Stalinism
In the 43 sequels, remakes and adaptations of Stoker's novel, Transylvania's most famous
son (Nosferatu) rarely appears the same way twice. He has evolved with the society around him.
His physical traits, powers and weaknesses have morphed to suit cultural and political climates
from the Victorian era to the Cold War, wherein international politics were heavily shaped by the
intense rivalry between these two great blocs of power and the political ideologies they
represented: democracy and capitalism in the case of the United States and its allies, and
The next classic treatment of the vampire legend was in Universal's Dracula (1931)
starring Bela Lugosi as Count Dracula. This horror film is about the Transylvanian vampire
Count Dracula, adapted from a play based on Bram Stoker’s novel. Released in 1931, the film
features Bela Lugosi as Dracula, the role that launched his movie career. Dracula purchases an
estate in England and terrorizes the family who live next door until vampire fighter Dr. Van
Helsing (Edward Van Sloan) drives a wooden stake through his heart.
The traditional Bela Lugosi figure - and aging aristocrat with fanglike teeth, a black opera
cloak and an easy to parody East European accent - was someone to be feared, perhaps even
respected. The "impeccably groomed Bela Lugosi" as the Lord of the Undead, possesses all the
charms and social graces of the Stoker, Old World nobleman (Everson, More Classics 32). His
eastern European accent allowed Lugosi to emphasize every word with a theatrical abandon. He
also invested a good deal of energy in the count's role, most notably in the assorted hand gestures
(which have become the vampire's trademark) and the penetrating eyes upon the victim's neck.
Vampires have been a fixture of film since Bela Lugosi brought Bram Stoker’s Dracula to
life on the big screen in 1931. Count Dracula has taken many forms over the years, but it was
Bela Lugosi's turn as the Transylvanian terror that set the bloodlust benchmark most closely
followed for the next 80 years. Often considered the first Hollywood horror movie with sound, it
scared the bejezus out of everyone and made a Drac attack the height of terror on film and off it.
Lugosi's seamless inhabitation of the count/creature as a beast with slicked back hair, big cape,
If Bela Lugosi gave Dracula a sense of style it was Christopher Lee who gave him a face
to remember. Although he has more than 266 screen credits to his name, Lee remains the modern
vampire du jour - he has appeared as the toothy count more than 10 times and the character has
It was not until the late 1950s that the vampire would resurface in another interpretation,
this time from the London Hammer Studios. Actor Christopher Lee made a conscious effort not
to recreate the Lugosi characterization in his Horror of Dracula (1958). Rather, he gave his
version a more restrained type of sophistication, coupled with an almost superhuman strength
Dracula was reincarnated for a new generation in the celebrated Hammer Horror series of
films, starring Christopher Lee as the Count. The first of these films Dracula (1958) was
followed by seven sequels. Lee returned as Dracula in all but two of these.
The comparison between these two films is much more intriguing to the actual vampire
buff—they are both masterpieces of their time. The original 1931 Dracula in it haunting portrayal
of a romantic Dracula who pursues the virginal Mina, becoming bat and wolf alike to reach her.
This horror flick was a first in cinema in creating a near state of hysteria in the theaters; some
places banned its showing even. The lines proved it a blockbuster and Bela Lugosi became a
lifelong typecast as the Count. It was primitive and low budget, using possums and armadillos as
giant rats in the Carfax Abbey where the Count slept in his coffin—but for its day it piqued the
imagination of a generation, spawning many imitators and different vampire films, none really
doing the portrayal of Dracula as romantic and hypnotic as Lugosi’s. Christopher Lee came
close, but will always be eclipsed by Lugosi’s eternally mesmerizing portrayal, a truly immortal