How are contemporary media texts featuring Vampires constructed to appeal to the young female audience and why might this be?
Introduction - Vampires are the story of many folklore and fantasy novels, dating all the way back to the first cult classic 1897 Dracula. It is the traits and characteristics of the vampire that makes them so enthralling, and life envious. Our fascination stems from more of an "if only it could be real" sort of fantasy rather than an actual belief in vampires which raises the theories on escapism and sexual gratifications. In today’s culture Vampires have been constructed in a way to attract the young female audience and allowing the target audience conform to the characters.
Monday 3 January 2011
Task 5
Introduction - Introduce question – Talk about Target Audience - History of Vampires – How they’ve changed over time.
Point 1 - Development of the genre
The “Craze” – Perpetuated by the Media
Point 2 - Girl Fans – Admire male characters – Uses and gratifications
Point 3 - How young girls identify themselves with female characters and why ?
Romance
Fashion
Sex
Point 4 - Target audience conforms to stereotypes
Conclusion - Conclude how contemporary media texts featuring Vampires are constructed to appeal to the young female audience and why this is so.
Point 1 - Development of the genre
The “Craze” – Perpetuated by the Media
Point 2 - Girl Fans – Admire male characters – Uses and gratifications
Point 3 - How young girls identify themselves with female characters and why ?
Romance
Fashion
Sex
Point 4 - Target audience conforms to stereotypes
Conclusion - Conclude how contemporary media texts featuring Vampires are constructed to appeal to the young female audience and why this is so.
Task 4
“Another possible reason why vampires have become more popular in recent years is the artistic creativity that writers are taking with this character.” – Ethan Thomas
“The fact that almost every culture has a version of the vampire myth suggests that the archetype addresses some deeply rooted fears and/or yearnings. There are many factors operating here: the attraction to the dark side of our natures; the fascination with what is forbidden; the desire for eternal youth and immortality; the centrality of blood in a religious sense. Add to these the sexual seductiveness and power that have come to be a part of the vampire image and you have a potent combination! I think this latter factor explains much of the popularity of the vampire today, as well as the desire of many young people in particular to live this alternative lifestyle. Being a "vampire" (or a Goth, for that matter) is for today's youth what being a "hippie" was for the youth of the 60s. The vampire figure has survived in literature and popular culture for another reason. It is a versatile archetype, and can be shaped and re-shaped to fit any individual artist's own vision. So while we still encounter fictional vampires who are spawns of Satan (as Stoker presented Dracula), we also have vampires who are more ambivalent or even basically good. Vampires have invaded every walk of life: they are detectives, policemen, doctors, professors, etc. If Bram Stoker could come back today, he would be absolutely amazed” - Elizabeth Miller
“The movie which came out in 1913 titled The Vampire showed a different side of vampires for the world to see being females as the lead roles” - Franck Benedittini
With all the recent interest in vampires (the Twilight saga, HBO's True Blood, CW's Vampire Diaries), it seems essential to note that the vampire character is one of the most ubiquitous in the history of cinema, extending from the earliest days of cinema to present-day manifestations. Dark, primitive, and revolting characters that simultaneously attract and repel us form the irresistible heart of big-screen vampire tales.
Vampire Source MaterialVampires began to emerge in popular fiction in the eighteenth and nineteenth centuries, during which time Irish writer Bram Stoker's 1897 vampire novel, Dracula, was written. It has become the most popular, influential, and preeminent source material for many vampire films. Stoker's seminal book hatched all the elements of future vampire films: predatory female vampires kissing the necks of male victims for their human blood, in order to remain immortal; an elderly count dwelling in a sinister Transylvanian castle; and a vampire hunter armed with a wooden stake and garlic to ward off the Prince of Darkness. Sheridan Le Fanu's 1872 Carmilla was a close second to Stoker's writings, becoming the source of numerous lesbian-vampire tales.
Earliest Variations on the VampireThe first horror movie was a silent film of 1896 made by imaginative French filmmaker Georges Méliès, titled Le manoir du diable (a.k.a. The House of the Devil), containing familiar elements of later horror and vampire films: a flying bat, a medieval castle, a cauldron, a demon figure (Mephistopheles), and a crucifix to dispatch with evil. Female vampires made an appearance in Robert Vignola's melodramatic Vampire: they were femmes fatales who seductively sucked the lifeblood from foolish men. (See also the popular vampire actress Theda Bara in A Fool There Was.) The earliest significant vampire film was director Arthur Robison's 1916 German silent film, Nächte des Grauens (a.k.a. A Night of Horror), which featured strange, vampirelike people. Until recently, the lost 1921 Hungarian film Drakula halála (a.k.a. Dracula's Death) was widely assumed to be the first adaptation of Stoker's vampire novel, and it featured cinema's first Dracula.
Nosferatu (1922)The first genuine vampire picture was produced by German director F.W. Murnau -- 1922's feature-length Nosferatu. Shot on location, it was an unauthorized film adaptation of Stoker's novel, with Max Schreck in the title role as the screen's first vampire -- a mysterious aristocrat named Count Orlok, who lived in the late 1830s in the town of Bremen. Because of copyright problems, the vampire was named Nosferatu, rather than Dracula, and the action was moved from Transylvania to Bremen. The emaciated, balding, undead vampire's image was unforgettable, with a devil-rat face, pointy ears, elongated fingers, sunken cheeks, and long fangs, with plague rats following him wherever he went. There were many attempts to copy or remake the film: German director Werner Herzog's faithful shot-by-shot color remake, Nosferatu the Vampyre, starred Klaus Kinski as a nauseating Count Dracula and beautiful Isabelle Adjani as Lucy Harker. The fanciful Shadow of the Vampire retold the making of the 1922 classic, with John Malkovich as obsessive director F.W. Murnau and Willem Dafoe as vampirish actor Schreck.
Dracula (1931)With Tod Browning's direction, Universal Studios produced a film version of Bela Lugosi's 1927 Broadway stage success about a bloodsucking 500-year-old menacing-yet-suave vampire named Dracula. His opening line of dialogue -- "I...am...Dracula. I bid you...welcome" -- was one of the most memorable entrances in horror-film history. The atmospheric, commercially successful film adaptation of Stoker's novel played upon fears of sexuality, blood, and the nebulous period between life and death. The heavily accented voice and acting of Hungarian actor Lugosi was frightening to early audiences: the undead villain hypnotically charmed his victims with a predatory gaze. To capitalize on its earlier successes, Universal slowly churned out other Dracula sagas, including their first official Dracula sequel -- the lesbian-tinged Dracula's Daughter, starring Gloria Holden as Countess Marya Zaleska.
Hammer's Cycle of Dracula FilmsThe U.K.'s Hammer Studios reinvigorated and sexually liberated the Stoker novel in a vast collection of provocative low-budget films, by employing garishly sensual colors, bloody reds, and more overtly gory violence. The British production company remained faithful to the genre's material (the classics from Universal) in tightly produced, spectacular Technicolor sequels featuring a seductive, alluring, and virile vampire. Talented director Terence Fisher (with Christopher Lee -- in one of his best appearances -- as the reclusive Count Dracula and Peter Cushing as arch-nemesis vampire hunter Dr. Van Helsing) created the classic 1958 flick Horror of Dracula. A flood of other romantic-gothic horror films followed.
Revisionist Interpretations or Portrayals of VampiresAs with all successful franchises, the key to Dracula's longevity was imagination and creativity. Although the basic elements of Stoker's novel remain in most vampire films, the revisionist variations have been striking and dramatic. A wide variety of vampire tales were put on celluloid in the eighties and afterward, usually with more overtly sexual overtones and bloody violence. There have been blaxploitation vampires (Blacula), lesbian vampires (The Vampire Lovers, Vampyres: Daughters of Darkness, and The Hunger), comic vampires (Once Bitten), a sickly junkie count (Andy Warhol's Dracula), a dog vampire (Dracula's Dog), teenage-punk vampires (The Lost Boys), Western-outlaw vampires (Near Dark), a cursed virginal rock-star vampire (Rockula), a Valley Girl vampire-hunter (Buffy the Vampire Slayer), a homoerotic vampire bromance (Interview With the Vampire: The Vampire Chronicles), a trio of postmodern heroin-chic vampire films (Nadja, The Addiction, and Habit), Mexican strip-joint vampires (From Dusk Till Dawn), comic-book-adapted vampires (Blade), a goth-rock vampire (Queen of the Damned), an anti-lycanthropic vampire warrior (Underworld), viral mutant vampires (I Am Legend), Alaskan subzero vampires (30 Days of Night), and (yes) romantic teen vampires in the throes of forbidden love (Twilight). – Tom Dirks
“The fact that almost every culture has a version of the vampire myth suggests that the archetype addresses some deeply rooted fears and/or yearnings. There are many factors operating here: the attraction to the dark side of our natures; the fascination with what is forbidden; the desire for eternal youth and immortality; the centrality of blood in a religious sense. Add to these the sexual seductiveness and power that have come to be a part of the vampire image and you have a potent combination! I think this latter factor explains much of the popularity of the vampire today, as well as the desire of many young people in particular to live this alternative lifestyle. Being a "vampire" (or a Goth, for that matter) is for today's youth what being a "hippie" was for the youth of the 60s. The vampire figure has survived in literature and popular culture for another reason. It is a versatile archetype, and can be shaped and re-shaped to fit any individual artist's own vision. So while we still encounter fictional vampires who are spawns of Satan (as Stoker presented Dracula), we also have vampires who are more ambivalent or even basically good. Vampires have invaded every walk of life: they are detectives, policemen, doctors, professors, etc. If Bram Stoker could come back today, he would be absolutely amazed” - Elizabeth Miller
“The movie which came out in 1913 titled The Vampire showed a different side of vampires for the world to see being females as the lead roles” - Franck Benedittini
With all the recent interest in vampires (the Twilight saga, HBO's True Blood, CW's Vampire Diaries), it seems essential to note that the vampire character is one of the most ubiquitous in the history of cinema, extending from the earliest days of cinema to present-day manifestations. Dark, primitive, and revolting characters that simultaneously attract and repel us form the irresistible heart of big-screen vampire tales.
Vampire Source MaterialVampires began to emerge in popular fiction in the eighteenth and nineteenth centuries, during which time Irish writer Bram Stoker's 1897 vampire novel, Dracula, was written. It has become the most popular, influential, and preeminent source material for many vampire films. Stoker's seminal book hatched all the elements of future vampire films: predatory female vampires kissing the necks of male victims for their human blood, in order to remain immortal; an elderly count dwelling in a sinister Transylvanian castle; and a vampire hunter armed with a wooden stake and garlic to ward off the Prince of Darkness. Sheridan Le Fanu's 1872 Carmilla was a close second to Stoker's writings, becoming the source of numerous lesbian-vampire tales.
Earliest Variations on the VampireThe first horror movie was a silent film of 1896 made by imaginative French filmmaker Georges Méliès, titled Le manoir du diable (a.k.a. The House of the Devil), containing familiar elements of later horror and vampire films: a flying bat, a medieval castle, a cauldron, a demon figure (Mephistopheles), and a crucifix to dispatch with evil. Female vampires made an appearance in Robert Vignola's melodramatic Vampire: they were femmes fatales who seductively sucked the lifeblood from foolish men. (See also the popular vampire actress Theda Bara in A Fool There Was.) The earliest significant vampire film was director Arthur Robison's 1916 German silent film, Nächte des Grauens (a.k.a. A Night of Horror), which featured strange, vampirelike people. Until recently, the lost 1921 Hungarian film Drakula halála (a.k.a. Dracula's Death) was widely assumed to be the first adaptation of Stoker's vampire novel, and it featured cinema's first Dracula.
Nosferatu (1922)The first genuine vampire picture was produced by German director F.W. Murnau -- 1922's feature-length Nosferatu. Shot on location, it was an unauthorized film adaptation of Stoker's novel, with Max Schreck in the title role as the screen's first vampire -- a mysterious aristocrat named Count Orlok, who lived in the late 1830s in the town of Bremen. Because of copyright problems, the vampire was named Nosferatu, rather than Dracula, and the action was moved from Transylvania to Bremen. The emaciated, balding, undead vampire's image was unforgettable, with a devil-rat face, pointy ears, elongated fingers, sunken cheeks, and long fangs, with plague rats following him wherever he went. There were many attempts to copy or remake the film: German director Werner Herzog's faithful shot-by-shot color remake, Nosferatu the Vampyre, starred Klaus Kinski as a nauseating Count Dracula and beautiful Isabelle Adjani as Lucy Harker. The fanciful Shadow of the Vampire retold the making of the 1922 classic, with John Malkovich as obsessive director F.W. Murnau and Willem Dafoe as vampirish actor Schreck.
Dracula (1931)With Tod Browning's direction, Universal Studios produced a film version of Bela Lugosi's 1927 Broadway stage success about a bloodsucking 500-year-old menacing-yet-suave vampire named Dracula. His opening line of dialogue -- "I...am...Dracula. I bid you...welcome" -- was one of the most memorable entrances in horror-film history. The atmospheric, commercially successful film adaptation of Stoker's novel played upon fears of sexuality, blood, and the nebulous period between life and death. The heavily accented voice and acting of Hungarian actor Lugosi was frightening to early audiences: the undead villain hypnotically charmed his victims with a predatory gaze. To capitalize on its earlier successes, Universal slowly churned out other Dracula sagas, including their first official Dracula sequel -- the lesbian-tinged Dracula's Daughter, starring Gloria Holden as Countess Marya Zaleska.
Hammer's Cycle of Dracula FilmsThe U.K.'s Hammer Studios reinvigorated and sexually liberated the Stoker novel in a vast collection of provocative low-budget films, by employing garishly sensual colors, bloody reds, and more overtly gory violence. The British production company remained faithful to the genre's material (the classics from Universal) in tightly produced, spectacular Technicolor sequels featuring a seductive, alluring, and virile vampire. Talented director Terence Fisher (with Christopher Lee -- in one of his best appearances -- as the reclusive Count Dracula and Peter Cushing as arch-nemesis vampire hunter Dr. Van Helsing) created the classic 1958 flick Horror of Dracula. A flood of other romantic-gothic horror films followed.
Revisionist Interpretations or Portrayals of VampiresAs with all successful franchises, the key to Dracula's longevity was imagination and creativity. Although the basic elements of Stoker's novel remain in most vampire films, the revisionist variations have been striking and dramatic. A wide variety of vampire tales were put on celluloid in the eighties and afterward, usually with more overtly sexual overtones and bloody violence. There have been blaxploitation vampires (Blacula), lesbian vampires (The Vampire Lovers, Vampyres: Daughters of Darkness, and The Hunger), comic vampires (Once Bitten), a sickly junkie count (Andy Warhol's Dracula), a dog vampire (Dracula's Dog), teenage-punk vampires (The Lost Boys), Western-outlaw vampires (Near Dark), a cursed virginal rock-star vampire (Rockula), a Valley Girl vampire-hunter (Buffy the Vampire Slayer), a homoerotic vampire bromance (Interview With the Vampire: The Vampire Chronicles), a trio of postmodern heroin-chic vampire films (Nadja, The Addiction, and Habit), Mexican strip-joint vampires (From Dusk Till Dawn), comic-book-adapted vampires (Blade), a goth-rock vampire (Queen of the Damned), an anti-lycanthropic vampire warrior (Underworld), viral mutant vampires (I Am Legend), Alaskan subzero vampires (30 Days of Night), and (yes) romantic teen vampires in the throes of forbidden love (Twilight). – Tom Dirks
Task 3
Nosferatu the Vampyre (1979)
In the past, most vampire films were based on the novel Dracula. In modern film, more and more changes have been made to the traditional vampire legend until in many films the vampires no longer play by the old rules. In the filmTwilight the vampires break from traditional lore in almost every way possible. Though a romantic movie, these vampires do not play by any of the traditional Dracula-type movie rules. They come out in the daytime, don’t sleep in coffins, have reflections in mirrors, and don’t drink human blood. In the past few decades vampire movies have become more creative, but they have also lost part of the tradition that made them unique.
In the past, most vampire films were based on the novel Dracula. In modern film, more and more changes have been made to the traditional vampire legend until in many films the vampires no longer play by the old rules. In the filmTwilight the vampires break from traditional lore in almost every way possible. Though a romantic movie, these vampires do not play by any of the traditional Dracula-type movie rules. They come out in the daytime, don’t sleep in coffins, have reflections in mirrors, and don’t drink human blood. In the past few decades vampire movies have become more creative, but they have also lost part of the tradition that made them unique.
Task 1
Close Textual Analysis
In this particular scene, there is a common ideology of the typical Vampires we find now a day.
They drink blood - This can be written as horrible and violent, but it can also be written as erotic and intimate: vampires are connected with a primal life force. The “siring” relationship - when one vampire creates another—also strikes a chord. Two people share a sexualized ritual, and then are forever connected, whether they want to be or not.
They’re frightening, yet vulnerable. Blood is difficult to get, especially for a reformed vampire. When they don’t get it, they need help—and at the same time, they can become more dangerous and primal, like a caged animal. They generally have various other weaknesses, notably sunlight. Though strong and scary at night, they need to be protected during the day.
They’re overpowering, yet overpowered. Often they have physical and/or mental powers beyond ordinary mortals. They can cause humans to act against their own wishes, and yet they are driven by natural impulses to act against their own.
They’re (usually) immortal. Forever young and pretty. They’re often hundreds of years old (yet still pretty!), making them worldly and cynical. Ah, cynicism: a bad boy attitude with intelligence and experience to back it up.
They can (usually) be reformed. An unlimited lifetime is enough time to try anything—even a supposedly evil creature can find virtue or love eventually. The potential invites the right mate to try and draw it out. On the other hand, an unlimited lifetime is enough time to try anything—even going good for awhile and then going bad again. So the danger is always there. A reformed vampire still needs to kill (or at least maim) for survival. This leads to delicious angst. (Why angst and guilt are sexy is a topic for another time…) such as the cast being beautiful, and that good looking guys or girls should go out with other good looking people, as well as constructing the ideology that sex is not a taboo.
This scene allows the audience to gain sexual gratification from the characters and also admire to the female characters that remain strong and powerful throughout the film. Through the long shots used the character's perfect bodies are shown that are in clothing Vampires would wear and make the audience attracted to them. Each Vampire has its own uniqueness and catches the audience’s attention. There is some sort of "male gaze" towards the female characters as they are very beautiful, this could also been seen for the male characters.
There is defiantly a sense of escapism as the audience feel they are in another world while watching Twilight.
In this particular scene, there is a common ideology of the typical Vampires we find now a day.
They drink blood - This can be written as horrible and violent, but it can also be written as erotic and intimate: vampires are connected with a primal life force. The “siring” relationship - when one vampire creates another—also strikes a chord. Two people share a sexualized ritual, and then are forever connected, whether they want to be or not.
They’re frightening, yet vulnerable. Blood is difficult to get, especially for a reformed vampire. When they don’t get it, they need help—and at the same time, they can become more dangerous and primal, like a caged animal. They generally have various other weaknesses, notably sunlight. Though strong and scary at night, they need to be protected during the day.
They’re overpowering, yet overpowered. Often they have physical and/or mental powers beyond ordinary mortals. They can cause humans to act against their own wishes, and yet they are driven by natural impulses to act against their own.
They’re (usually) immortal. Forever young and pretty. They’re often hundreds of years old (yet still pretty!), making them worldly and cynical. Ah, cynicism: a bad boy attitude with intelligence and experience to back it up.
They can (usually) be reformed. An unlimited lifetime is enough time to try anything—even a supposedly evil creature can find virtue or love eventually. The potential invites the right mate to try and draw it out. On the other hand, an unlimited lifetime is enough time to try anything—even going good for awhile and then going bad again. So the danger is always there. A reformed vampire still needs to kill (or at least maim) for survival. This leads to delicious angst. (Why angst and guilt are sexy is a topic for another time…) such as the cast being beautiful, and that good looking guys or girls should go out with other good looking people, as well as constructing the ideology that sex is not a taboo.
This scene allows the audience to gain sexual gratification from the characters and also admire to the female characters that remain strong and powerful throughout the film. Through the long shots used the character's perfect bodies are shown that are in clothing Vampires would wear and make the audience attracted to them. Each Vampire has its own uniqueness and catches the audience’s attention. There is some sort of "male gaze" towards the female characters as they are very beautiful, this could also been seen for the male characters.
There is defiantly a sense of escapism as the audience feel they are in another world while watching Twilight.
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