A Cinematographic Vampire’s Tale: Understanding the Symbolism Behind the Horror Icon

Cinema is the place where we as viewers engage in sharing a collective dream. Certainly, nuisance celluloids enrich us as viewers with the close to dream- identical of plots. This is because they open a portal into an few other forgiving where we argon every(prenominal)owed to engage with our nightm atomic number 18s. All over time various curse paintings show us how normality is be by a monster, but the wight who has haunted the screen give cargon no 1 is undoubtedly the lamia. According to Ivan Phillips the touch on word of the Vampire has drifted and shifted through and through the pages of untriedspapers, travel journals, novels, poems, comics, and plays for 300 years, it has haunted cinema and television for almost a hundred, its shadow is creeping into the social, narrative and ludic net whole works of the digital. The image of the Vampire is forever and a day set up in the realistic and literature culture of the twenty- starting time hundred. Although th is being moved from its folkloristic origins in which he appeared in works of J. Sheridan Le Fanu, butt Polidori and Bram Stoker, the lamia still re of imports an iconic jut in Hesperian Culture.This personage provides paradoxical fascination as it exists at the edges of what is deemed normal, acceptable and safe, the lamia embodies the foreign and the unfamiliar. Although, the vampire is often seen as a bringer of dying, in that location are legion(predicate) metaphorical meanings and readings of this being. Through Marxist discourse the vampire is portrayed as the monster of monopoly capitalism and the agent of foreign ownership. This fancy of the bloodsucking capitalist is perceive in a negative modality the Marxist community.In a xenophobic society this idea of the vampire embodies a general fear of the unfamiliar and may alike stand for a racial difference. barely the vampire non only opposes the non-con mixed bagity it similarly alludes to an illicit desire. According to Jorg Waltje, this being is the embodiment of humanitys hopes and desires beauty, strength, and immortality. Although these elements do not run fear in the same way as the vampires link with death but in the same agency they designate an external behavior which puts at risk societys stability.The vampire hints to a sensory faculty of unsettlement. Through his figure the viewer, in a quite a troubled sense, begets face-to-face with the dramatization of humanity. As a creature, the vampire encompasses mens vulnerability and his inability to alter the laws of time. As Sarah Sceats states Vampires represent what we both fear and desire they evoke a fringy world of darkness, secrecy, vulnerability, surplus, and horror. Whatever they are, it is positively Other. This notion of excess was as well tackled by Omar Calabrese in peerless of his chapters.According to Calabrese nonpareil could only escape from a closed system through this notion of excess. The vampire re presents this excess as he personifies those aspects excluded or rejected by society, its existence in itself denotes excess. In addition to this, Calabrese associates this vampiric excess to the exotic sexy which alludes to the scandal and breaks the boundaries of what is socially acceptable. In this sense the vampires bite is linked with the erotic. Further to this explicit erotic act we ready an unavoidable act with death.It was Bram Stoker which explored this notion in his novel genus Dracula. In the scene, where Lucy dies we see an excessive use of the erotic She seemed like a nightmare of Lucy as she lay there the pointed teeth, the bloodstained, voluptuous brim which it made whizz shudder to see the whole carnal and unspiritual fashion, apparent like a devilish mockery of Lucys sweet whiteness. Through this, Bram Stolker illustrates us with an example of how death is linked to the erotic. The notion of excess is repetitively used and reused by Stolker. In circumstance, he describes Lucy as a nightmare hich it made one shudder to see As viewers, as charge enthusiasts or as junkies of the silver screen, we have self-aggrandising accustomed to suppose that nothing happens outside of the frame. Yet this idea seems to crumble to the ground when it comes to Dreyers, Vampyr. The last mentioned(prenominal) haunts us with a distinctly innerving sense of not knowing where anyone is, creating a feeling that anything culd be happening beyond the frame, in the blind dummy in which the monsoter lurks. optically speaking, Vampyr resembles Jean Epsteins La Chute de la Maison de Usher and Bunuels Un Chien Andalou.Dreyers horror movie encapsulates clear moments of crossover surrounded by the two accomplishments. Therefore Vampyr autocratic itself from other movies of the same musical genre because of the various artistic influences which left their imprint. compare can also be drawn among more temperrn movies which are not necessarily classified und er an artistic movement but which are still relevant to vampire studies. Coppolas movie is quarantined by decades from its predecessors and is more straight forward in the narration of events.Visual metaphors are rudimentary to its dashic structure and the American directors indication is completely submerged in blood, but while this motion-picture show is hard conditioned by an erotic element, the scenes of blood in Vampyr are scarce. The descry of blood carry psychoanalytic connotations. Barbara Creed states that the manifestation of horror is culturally and socially constructed through the images of blood, vomit, pus. shit etc. These images emphasize a split surrounded by the law of the father and the maternal influence. This division has to be viewed under a pre-Oedipal line of thought.In this stage there is a fierce fixing to the maternal figure. In Dreyers vampire movie, blood is linked to the maternal entity because Chopin punctuates the skeletal system and transgr esses the sanctity of the body. Another overwhelming point stated by Creed is that the effeminate vampire does not encumber herself to mutating her victims into creatures which are one with the night. Her victims are testimony of the vampires ability to destabilize traditional gender definitions. Although homosexual connotations are often attributed to this get off the groundicular flick, there is no real friendship amidst Leon and Chopin.The scene in which Chopin feeds upon her young prey, does not communicate a sense of desire. The village doctor who is at the service of Chopin, does not concur with the medical man who represents a positive force in the traditional gothic horror narrative. In Coppolas Dracula, based on Bram Stockers novel, Van Helsing is an amend individual and an adversary to the malevolent vampire. The doctor sucks the blood from the living thank to the transfusion equipment just as Chopin uses fangs. The victim of the doctors bloodsucking, artificial te chnique is colour.He is the character who often looks at the actions taking place by stand(a) behind doors or windows he is an outsider peering in. In fact, Gray is removed from the narrative action even as he witnesses the first death. David Bordwell believed that Gray is a curious character and he is more of a mediator than a provocateur of action. However, Gray still possesses an active and enunciating heed. This male characters progress is often hindered by other characters, by the support and also by buildings. What is so overwhelming about Vampyr is the collision between reality and the supernatural.Everything seems to take place within a dream-like state and the movie is ephemeral, polysemic and shifting, provoking opinion and polarising debate. The movie afflicts the viewer with dissonance and discomfort, specially when our heed meet Chopins stare as Gray is sealed in the coffin. The latter is an artefact which shares an endless tradition with the general notion of va mpirism. It is the space where these beings retreat and hide away from the daylight. The coffin is the body-fitting box where Dracula and forecast Orlock patiently wait their time to rise while the vessel is sailing.This grave accent or repository is the most vampiric of all enclosure. Gray finds himself pin down in a coffin and at this point in the movies chronology, the spectatorial gaze is doubly trapped, within the confines of a sealed coffin and the dogged dead body. As the coffin containing Grays corpse is being carried away, the raise passes next to Grays unconscious body. In Vampyr, the element of the doppelganger has a heavy resonation. Vampyr is venerated amongst dors of the genre even though movie makers throughout those years did not have the present technological resources.Old, B&W, silent movies may seem exotic in form and content to younger generations, yet what some of these ultimo flicks embody inextinguishable artistic and human values. Weve already drawn r emarks on Coppolas remake of Bram Stockers narrative work into film. Long before the release of this movie, the most haunting of any attempt to dramatize Bram Stockers novel was Murnaus Nosferatu. There is a strong resemblance between Murnaus vampire and the one lurking in the make. What is it that viewers find so terrifying about Nosferatu?Is it the vampires appearance and inhuman gestures? Does he embody the general notion that we fear some(prenominal) we cannot explain or understand through rational thinking? As consumers, for there is no better way to call genuine movie enthusiasts, we ought to dig deeper and deeper into the sequence of images. Most of the time denotations come with connotations and it is up to us to fish out such hidden meanings. The imagery in Murnaus movie suggests the concept of repression and the puckish is a visual leit motif in the film.Arches and similar structures try to stop the vampire from e confluence. recite Orlock is indeed a repressed force who is also linked to Jonathan via these same arches. In a memorable scene in the movie, the Count emerges from under an arch and Jonathan from another(prenominal) as they meet for the first time. Jonathan is also linked to the baleful creature through the house which stands on the opposite side to his. Count Orlock purchases this house, thus becoming the young mans reflection. Jonathan is a lovable companion to Nina while Nosferatu becomes a demonic alternative husband.Nosferatu contains numerous references to a number of traditional or cultural elements. Myths about Persephone and Orpheus also produce an echoing effect through this vampire movie. Nosferatu was not meant to botch in its own air bubble, separated from all other influences and ideas. Murnau transfuses into the head picture the product of a synthesis. This adaptation of Dracula, which donated to all lovers of the unconscionable this thin, repulsively bald being, dates back to the heyday of expressionist fantasy.W hat come into collision are the natural and the fantastic. These two distant realms are central to Nosferatu yet neither dominates the film. The viewer cannot but notice the obsession with register space and the obrusive sets. Like Tabu, Nosferatu is primarily set in natural surroundings and both of Murnaus movies deal with a menace. The latter diffuses into an ordinary world and out of a fantastic, paranormal world. Nosferatu portrays an animal-like being (a mixture between a rat and a human skeleton) who is constantly associated with nature throughout the film.Even Count Orloks movements does not coincide with those of a human being , in fact even his castle is like a natural continuation of the rock thus the true protagonist in Nosferatu is Nature which is closely linked with its natural settings. In Nosferatu, Murnau used a sort of trick photography also with expressionist angle shots. As Gilberto Perez Guillermo suggests these specific techniques are used to illustrate a remo te, fragmented and peculiar environment. Nosferatu is generally seen from distance and this gives us the impression that the nocturnal creature is merging itself with the surrounding nature.Murnau succeeded into creating an iconic- power image through which he shows Nosferatu as plain immensely tall. In particular the scene where the vampire is standing on the deck of the vessel which is no longer conducted by a human being. Murnau makes also the use of the negative image, this technique is ideal to express mystery, fantasy, and unreality. This negative image basically involves an X-ray photograph, in this film it was used when Jonathan was being carried into the land of phantoms in Count Orlocks weird carriage.The trine movies which have been discussed so far are all based on similar, if not identical, themes. In each law gibe the blood between the female character and the parasite represented by the vampire is at the pump of the movies plot. Guillermo del Toro took on a diss imilar approach and directed a vampire movie which derailed from the norm set up by the previously discussed films. Narrative-wise, Cronos ignores the myth of the Count and focuses on a device that causes transformations to take place within the main characters physique.The Cronos looks like an insect which shares some sort of a plebeian parasitic relationship with its victim. Apart from a different take on the blood-sucking creatures myth, Cronos proposes characters which are marked by an implied absence. Del Toros movie might represent a nostalgic look at the past in the sense that the long-gone years receive a corporeal dimension belonging to the present. The main character in this Mexican Gothic is a perfect lesson of this notion. deliveryman Gris is the purveyor of antiques and guardian of the newfound dawn the latter being Aurora.What distinguishes Jesus Gris with Dieter de la Guardia, the dying industrialist who is aware of the Cronos true nature and powers are there pas t scars which must be dealt with in modern times. On the one hand the scars of Jesus are related to family life while on the other Dieter de la Guardia is at the mercy of an ailing health. Above all else, the Cronos is a fascinating hybrid of science and nature and the golden case is said to hold an insect which lives off human blood. In slip by the creature rejuvenates its bearer and prolongs his life, killing off the threat posed by corruptible, material flesh.The device is needed by de la Guardia because it surpasses the technology of modern times. Only the Cronos can achieve what technology has failed in. There also lies a fine parallelism between de la Guardia and the nonsuchs statue. The mans body is full of holes just like the archangels interior which is infested by cockroaches and if the statue reminds us of the divine, the deteriorating human body indicates an indispensable ending. Erotism is a stranger to the films plot, yet del Toros work delves into universal dream s, such as eternal youth and the passage of arms between life and death.Jesus caries the device while de la Guardia holds the instructions Jesus is the unsuspecting individual who comes across an artifact of secret powers and who ends owning itself to it. The Cronos dehumanizes him and his need for human blood becomes more prominent as the film unfolds. Just as the insect feeds upon the blood of the devices holder, the latter ends up developing an appetite for human blood. Viewers have grown accustomed to having a female figure within vampire stories. Whether the muliebrity is a prey, a victim or an object of desire, she has been instrumental to Draculas and Vampyrs storyline.In Cronos, Aurora plays the role of the love provoke for which the monster must make his sacrifice. Transformation and shifting of form does not limit itself to Jesus metamorphosis, but it also manifests itself in the relationship between the vampire and the female figure. The erotism is replaced by an inno cent, filial love. Contrasting and comparing characters and plots allows us to point out what is present in one movie and absent in another. Some characters from different filmic works may share the same attributes or characteristics, while others may reckon the same role but in a totally different path.The so-called assistant, the faithful follower who is at the service of his master, is present in all four films discussed so far. However Angel, the nephew of de la Guardia, is not as submissive as Renfield and the village doctor. Angels mode of thinking is simply capitalistic. He yearns for his uncles wealth and represents the cynical angel. In contemporary dadaular culture the power of the vampires bite did not vanish but in some manner it did change. We can see this notion through the creation of diverse pop culture vampires such as Angel and Spike in the serial publication Buffy the Vampire Slayer (1997-2003).These modern vampires have been desexualized and de-victimized beca use they only obtain and imbibe blood from butchers. Now the vampire is made more human and this highlights the fact that contemporary vampires have a more mundane appearance. In the new millennium the vampire seemed to have changed from a creature of fear to a creature of sympathy and emulation. This is made more evident in online discourse about the vampire. As argued by Mary Williamson in her book Lure of the Vampire, in the virtual world the vampire is perceived as a forgivable outcast and thus we sympathize with him.In Facebook, a social network used by millions in the world the movement of this being is very strong. Through one particular application called Vampire application we see several imitations of the folkloric tradition of the vampire. This application is easy from one user to another via a virtual bite. During this serve well a user is sent an invitation to enrol himself to such application, were the user gets to move with other individuals who share their inter est and curiosities about this subject.Users get to fight other vampires, fill their hunger or feed upon weaker vampires. Once cravings for this so called virtual-violence are stated by numerous, users can also send gestures such as hugs to their nearest companions. Feeding and fighting are the highlight of this application were vampires get points and money for doing so which than they can be exchanged for weapons or to modify their senses or powers . In this application placing someone in a suit will result in losing all their fights for two consecutive days, which is quite a deal breaker.This application also embraces violence amongst friends. Some of the many options this application boasts are the way one can attack another throughout the Facebook community. This application is filled with the erotic this notion solidifies the traditional elements of the transgressive vampire. At each and every single level the vampires abilities achieves a new rank and this creates a new typ e of vampire. As noticed by Mary Williamson in the virtual world this being is not perceived as an outcast but instead a fundamental figure through which players communicate. In the online world the vampires have become a part of a different ritual, a social ritual by which relationships and friendships are maintained and expanded. In this application, what used to frighten about this creature is eliminated and instead it is accepted. In fact, with the loss of penetration of the bite the vampire is de-sexualized and make clean. According to Calabrese, the vampire represents only a slight alteration beyond what is socially accepted and thus it represents the shifting of limits. When confronted by an acceptable excess, the limit is simply moved (perhaps to a considerable distance) in order to collect it.When in the virtual world, elements like blood and the penetration of the bite are removed the virtual vampire becomes the monster that is us. In the ordinal century, sympathy for this being has grown bigger. In fact as stated by Williamson, this being has generated new implications and attitudes towards the self in the twentieth century. There is a great desire to feign the vampire not as a rebellious figure but rather to imitate a bohemian outsiderdom which locates the individual as the desirable outsider, the sympathetically disoriented. In the virtual context perception of the self becomes fluid and plastic.As it is no longer linked with the body but it is extremely linked with the fulfilment of desires. In this sense identity operator is constructed as one desires. The virtual identity can be understood through the Lancian psychoanalytic theory. In the online world the virtual identity is not reflected but is rather constructed the subject is not created in the reflection but rather in the digital composite. This leads us to do a parallelism between the vampire and the virtual identity. According to Shannon Winnubst, the site represents the mirror reflection in which an individual forms and constructs his ideas about the self.On the other hand the vampire in lacking a mirror reflection, does not even register on the radar of identity-formation he does not have the necessary condition for the supposition of becoming a subject. Also Rhonda Wilcox explored this theme using the fantastic Id and the Jungian shadow. According to Wilcox the online body represents the negative aspect of ones personality. In this manner the vampire is portrayed as the doppelganger of the victim before it was biten. Stokers Lucy and Angel in Buffy are the perfect examples,Stokers Lucy from chaste to ripely erotic, or perhaps the souled and soulless incarnations of Angel in Buffy so too does the virtual body provide opportunity for the vampiric shadow to find form in cyberspace. As stated by Wilcox, the imaginative Id illustrates the unconscious which is repressed and which encourages the pre-vampiric identity to free itself. In this sense online whe re the personality is fluid the wishes of the Id can be fulfilled as there are no repercussions which constitute some sort of restriction in the corporeal world. When talking about horror movies there is a subtle difference between the onster and the human being. But as indicated in films by Dreyer, Murnau, Coppola and Guillermo del Toro a strong link exists between the two beings. The myth and the vampire have always been subjects of debates. Although there are number of similarities and differences between Vampyr and Nosferatu yet both films show us the vampire as being more than just a blood sucking, nocturnal creature but it is also the representation of the darkest corners of the human psyche For this is one of the functions of our monsters to help us constrict our own humanity, to provide guidelines against which we can set ourselves.