withSticker_cropped

About FocusFeatures.com

Hi, I'm here to help. I'm keeping my eye on the blogs and message boards. I would love to hear what you think about the site and try to address any problems you may be having.

More About FocusFeatures.com »

To leave a message for administrator, login or register below.

Login | Register

Archives

Member Profile | FocusFeatures.com

There Will Be Blood: A short history of vampire films

Posted June 23, 2009 to photo album "There Will Be Blood: A short history of vampire films"

From Nosferatu to Thirst, films have tried to capture the shadowy, seductive figure of the vampire. Writer Anne Billson chronicles the creature’s evolution.

Slide One: Intro
Slide Two: Nosferatu, eine Symphonie des Grauens (1922)
Slide Three: Dracula (1931)
Slide Four: Vampyr - Der Traum des Allan Grey (1932)
Slide Five: Dracula/Horror of Dracula (1958)
Slide Six: Dance of the Vampires/The Fearless Vampire Killers (1967)
Slide Seven: Daughters of Darkness/Les lévres rouges (1971)
Slide Eight: Martin (1977)
Slide Nine: Near Dark (1987)
Slide Ten: Twilight (2008)
Slide Eleven:  Let the Right One In/Låt den rätte komma in (2008)
Slide Twelve: Writer Anne Billson
Slide Five: Dracula/Horror of Dracula (1958)

Slide Five: Dracula/Horror of Dracula (1958)

Horror of Dracula, Hammer's first vampire movie, brought Stoker's villain home to the British Isles where he was conceived, and gave the Universal myth a Technicolor twist; Christopher Lee wears red contact lenses and his chin is stained, post-feed, with trickles of bright scarlet blood. Other fresh elements include fangs, more explicit biting and staking and, emphasizing Dracula's erotic effect on his victims, heaving bosoms bursting out of low-cut décollétage. Lee talks with a posh English accent and is sexier and more urbane than Lugosi; the vampire has some way to go before he morphs into the romantic anti-hero of Anne Rice's imaginings, but one can see the beginnings of the transformation here. Terence Fisher's stately, atmospheric direction, Jimmy Sangster's screenplay and Bernard Robinson's lush production design established a blueprint for all subsequent Hammer vampire yarns, dark but ultimately reassuring fairy-tales that invariably take place in mittel-European settings that look suspiciously similar to the parkland surrounding Bray Studios, Hammer's Home Counties HQ, and in which the vampire's evil influence is countered by learned patriarchal figures such as Peter Cushing's Van Helsing who, backed up by church and family, restores order when virtuous English women are turned into wanton floosies who are just asking for a good staking.