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Essay / Research Paper Abstract
This 9 page research paper examines the story of Dracula and its evolution in modern film. The writer traces the best-known vampire's roles in various movies-- comparing the positive and negative qualities of each one. Many such examples from the original version of "Nosferatu" to "Dracula's Dog" are provided. Bibliography lists 5 sources.
Page Count:
9 pages (~225 words per page)
File: D0_Vampire2.doc
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Unformatted sample text from the term paper:
cinematic production though. "Horror of Dracula," a Hammer Film Production directed by Terence Fisher, was at first glance just another film about Vampires. Based on the 1897 novel
entitled Dracula by the Irish author Bram Stoker, this blend of folklore, fantasy, and fact was transformed into one of my favorite vampire horror movies of all time; a classic
that Joseph Armstead (1979) writes has fired the imaginations of authors and producers ever since it was published. An historical Dracula which this movie was based
on did also exist; medieval histories record him as a fifteenth century Balkan nobleman whose sadistic cruelties more than justified his name (Dracula means "devil" in Rumanian) (Larkin, 1990).
Although no mention is made of vampirism in the case history of Dracula, there seems little doubt that he inspired the book that bears his name (Larkin, 1990).
When European filmmakers and actors began emigrating to America in the early 1900s, the Count came with them. Bela Lugosi, in his stage presentation of Dracula, followed by
his portrayal of the Count in the 1931 Universal film of the same name, was the man most responsible for Draculas rapid rise to fame. Lugosis portrayal of the bizarre
Transylvanian aristocrat remained unchallenged for nearly twenty-seven years, and it was not until 1958, when the British actor Christopher Lee starred in Horror of Dracula, that a vampire film lived
up to the Lugosi tradition. Lee, whom Fisher had directed as a monster in a previous horror movie called "The Curse of Frankenstein," was perfect for
the part of the Count. He was thin and six feet, four inches, tall (Armstead, 1979), satisfying the physical requirements set down by Stoker. In addition, he had
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