Introduction
Vampires are mythological
supernatural creatures who exist by feeding on the blood of living beings. The source
of them can be traced back to thousands years ago and occur in most cultures. However,
“vampire” as a formal term was popularly known till 18th century
from traditional eastern European folklore. According to some vampire myths, the
original vampire named Cain, who is the elder son of Adam and Eve. He was
cursed by God and became the first vampire for the reason of killing his own
brother. And the origin of the feature of vampire relates to a disease Porphyria.
People with this disease are afraid of sun, their skin will be eroded and they
need blood to sustain life. These myths create the general image of vampire,
and in 1897’s vampire novel Dracula written
by Bram Stoker, the vampire figure has a more specific description. With the
success of this novel, Count Dracula becomes a classical image of vampire and
be used as a prototype in early vampire films.
During the
long history of film development, vampire film as a fresh and fancy type of
film always attracts much attention and becoming more and more popular in the
modern days. Such as the latest famous vampire film The Twilight Saga adapted from Stephenie Meyer’s novel, which
draws the numerous audiences and achieves great success. However, with time
goes by, to keep pace with new era and audience, the vampire films today are
much different from the early ones, not only in the film styles, but also the
different representations of vampire character in the films. This
research paper is going to explore the changes of vampire character base on
four vampire films in different period: Nosferatu (1922),
Bram Stoker's Dracula (1992), Interview with the Vampire (1994), and The Twilight Saga
(2008-2012), and also analyzes what these changes mean in social and cultural
aspects.
Context
With the development of the vampire film
from past to now, the feature of vampire from films has changed from
a horrible and violent figure into a more humanized and charming role. From Devon Elizabeth Bryce’s thesis “Surviving the change: The
domestication of the vampire in literature, film, and television”, it indicates
that “the vampire once fit nicely under the heading of horror in which the
'unknown'… Vampires represented the evils in the world and needed to be smited
in order for the world to return to 'normal'” (Bryce26). And by examining
vampire films in the aspect of theme, we can find the changes and transformations.
Vampires can be categorized as “monstrous, melancholic, feminine, and humanized” (Bryce26) in different period of vampire
film.
In Kate Pullinger’s thesis
"Re-Creating the Vampire Myth", the vampire figure in Nosferatu in 1922 is dreadful, and the
film as a horror genre
expresses “the fear of death, fear of illness, horror of the body, of the
corpse” (Pullinger12). And in the article "Bram Stoker's Dracula", as
the author states, although the vampire Dracula is still as a frightening character,
its image is enriched with the emphasis of love in the film: “his taste for
humanity has grown bold with desire. Touching that humanity, and having lost
his own, this is a chronicle of damnation and redemption, of horror and
romantic passion, of renunciation and sacrifice.” The cruel vampire becomes
more emotional with a pitiful side for his pursuit of true love. In addition,
in the film Interview
with the Vampire in 1994, the vampire character seems has a
bigger change which is an innovation that subverts the old evil image of
vampire from the dark Gothic works. The protagonist Louis is even a positive
character who is kind and more humanized. From the thesis “Blood Relations: The
Gothic Perversion of the Nuclear Family in Anne Rice's Interview with the
Vampire” by Candace R Benefiel, it indicates that throughout the film Interview with the Vampire, the vampire “preyed
with impunity, they gave themselves over to introspection, and they sought and
found an entire subculture based on their own peculiar existence. They existed
in a different world, and the old models no longer applied” (Benefiel264). Then
in Karen Backstein’s article “(Un)safe Sex: Romancing the Vampire”, it discusses
the attraction of vampire films to audiences in 21st century and the
changes made. As the author claims, “in Victorian vampire stories, such as
"Dracula," the heroines were vulnerable and met misfortune when they
succumbed to the seduction of dangerous men. Modern vampires, however, work to
control their impulses so as not to harm the heroine, who is strong,
resourceful and smart” (Backstein39). The author also uses the film "Twilight"
as an example, the vampire Edward in this film is a totally positive and
popular role. Except the charming appearance, the vampire character is
humanized and emotional, he controls his desire and protects human.
However, there is a different opinion
about the change of vampire character from violence to romance. Samantha Oakley
indicates the interconnection of violence and romance in the modern vampire
film the Twilight Saga. From the
thesis “‘I Could Kill You Quite Easily, Bella, Simply by Accident.’: Violence
and Romance in Stephenie Meyer's "Twilight" Saga”, Oakley argues the
elements of rape and sexual violence in the film “due to its valorization of romantic relationships that are
psychologically abusive, violent, and ultimately destructive” (Oakley38). She also finds that “the
romantic developments between Bella and Edward are depicted as violent and
dangerous affairs that ignore consent, and rely on implied threats of psychical
violence to control Bella” (Oakley39). Therefore, in author’s opinion, the
feature the vampire is represented in modern vampire film not simply romance,
but also involves violent elements.
Moreover, some of the literatures also
explore what the changes and different representations of vampire character
reflect. In Morrison’s thesis “Metamorphoses of the vampire in literature and
film: cultural transformations in Europe, 1732-1933”, it states that the
vampire film reflects the social condition during that time as it states that “the
vampire as a distinctly European figure that has allowed writers to express
their anxieties over a range of political, economic, and social changes
occurring since the 18th century” (Morrison72).
And from Pullinger’s article "Re-Creating the Vampire Myth”, the
representation of vampire character in 18th and 19th centuries is influenced by
the sexual culture, social expectations of the freedom of sexual expression,
and also about “politics and class -- the creature is often a foreign invading
power, typically aristocratic” (Pullinger14). In addition, in the thesis “From
demon to daimon: A mythic and depth psychological analysis of the American hero
vampire”, Sarah E. Pierce explores the different image of vampire as a
superhero to imply that it reflects American psyche, and the new idea of heroism
in American culture which is about “moving from self-loathing to wholeness,
from isolation to relatedness, and from merely wielding a sword to applying the
imagination to uncover new ways of being” (Pierce21).
In general, the literatures for this
research provide various perspectives and analyses of the change of vampire
character basing on four vampire films in different time period: Nosferatu, Bram Stoker's Dracula, Interview
with the Vampire, and The Twilight
Saga. For the further research, I am going to analyze the changes of
vampire image in more specific aspects of appearance, desire, emotion, and
human-social relationship. Also, my future research will explore what these
changes mean related to culture and society.
Discussion
With the
development of vampire films, the representation of vampire character
changes from a horrible, evil, and violent figure into a more humanized,
emotional, and charming role. From the literatures, they provide general
ideas of the changes of vampire image. In my research, I will explore the different
representations of vampire image in four specific aspects which contain appearance,
desire, emotion, and human and social relationship to analyze the
changes in more specific way.
In addition, the
literatures tell about the transformation of vampire image in different vampire
films, but overlook what these changes reflect. In Pierce’s thesis “From demon
to daimon: A mythic and depth psychological analysis of the American hero
vampire”, he examines the different image of vampire as a superhero to suggest
that it reflects American psyche, and the new idea of heroism in American
culture. Pierce’s research only focuses on the 21st century’s culture
influences to the vampire character reflect. Therefore, in my research, I will
also focus on what the changes of vampire character mean relate to and social-cultural
aspects.
Examples
1. Nosferatu (1922)
Firstly, Nosferatu (1922) as an earliest vampire film made by F.W. Murnau in
German creates a horrible and evil vampire who is a count lives in his own castle.
In Morrison’s thesis “Metamorphoses of the vampire in literature and film:
cultural transformations in Europe, 1732-1933”, it states that “the vampire as
a distinctly European figure that has allowed writers to express their
anxieties over a range of political, economic, and social changes occurring
since the 18th century” (Morrison72).
In this film, the vampire image shows the social condition of German during
that time. German was defeated in the First World War in 1918. After the war,
the country suffered serious social-political unrest and economic depression
which influenced its cultural ideology. The vampire Orlok is represented as the image of tyrant to
show people’s fear and hatred to bureaucratic government. And the small town which
is stricken with panic and plague in the film is also a miniature of German
society depressed and chaotic after war.
The image of vampire in this film is
strange and fearful in appearance. He is tall and thin with long slender
fingers, pointy ears, pale face and less hair. Count Orlok is also a cruel and entirely
emotionless vampire. He indulges his nature and desire to kill people, drink
their blood, and he shows no mercy to human. When he sees the photo of Mina who
is the wife of his visitor, what his praise to her is “Lovely throat”. In this
film, the relationship between vampire and human are antagonistic,
people are afraid of vampire who threats their life, as Pullinger says it expresses
“the fear of death, fear of illness, horror of the body, of the corpse”
(Pullinger12). Besides, for the social relationship, Orlok is a count and lives
in his own castle. The vampire in this film has high social position, but he
has rare communication with the society and hides alone in the castle at most
times.
2. Bram Stoker's Dracula (1992)
In the film Bram Stoker's Dracula (1992), the vampire image Count Dracula is
created as a European aristocrat with the mysterious color of religion. The
film is adapted from the novel Dracula
written by Bram Stoker in 1897, when the feudal aristocracy went to decline,
and western capitalism was developing because of the rise of industrial society
after Second Industrial Revolution. The religion thoughts and church authority
was challenged after the Enlightenment in 18th century, which emphasizes
rationality, humanity, and the social expectations of the freedom and equality.
In Bram Stoker's Dracula, vampire
Dracula is a frightening character who pierces Jesus on the cross, gives his
soul to devil and becomes an immortal vampire who feeds on human blood. In
appearance, count Dracula gives audience the sense of mystery. He has a long
hair, gloomy face and stiff expression, wears a scarlet robe which is a typical
Victorian aristocratic dress with the color of religion. In this film, the
element of love is emphasized, which makes the image of vampire more vivid. Count Dracula
as an aristocrat has a high social position, and his relationship with human is
more complicated between violence and love. As a vampire, he has his natural desire
to blood, but also the desire to sex and love. Like Pullinger states “his taste
for humanity has grown bold with desire. Touching that humanity, and having
lost his own, this is a chronicle of damnation and redemption, of horror and
romantic passion, of renunciation and sacrifice” (Pullinger12). Eventually, the
death of Dracula makes this cruel figure becomes a more emotional and pitiful role
for his pursuit of true love.
3.
Interview
with the Vampire (1994)
Thirdly, in the 1990s’ America, the neo-conservatism becomes the mainstream
ideology. The conservative pays attention on obeying order and law, and they insist
maintain the traditional social bonds which are beneficial to unify such as the
family harmony, avoid violence, and obey to religious custom and ethical ideas.
With the influence of cultural and social factors, the vampire film Interview with the Vampire (1994) made by Neil Jordan in America reflects the abnormal
life of people, and potential crisis and sin in modern society. With the development
of popular culture in 20th century, this vampire film is also made
to be consistent with public’s aesthetic taste. In addition, the film explores
the proposition of human nature, which shows people’s thinking to humanity
during that time.
The vampire character in Interview with the Vampire seems has a
bigger change which is an innovation that subverts the old evil image of
vampire from the dark Gothic works. In the film, except the grim-faced and cold eyes, the
appearance of vampire becomes more handsome and charming. As aristocrats, they
join the upper class in society, and their relationship with human is no longer
antagonistic but neutral. Besides, the evil and emotionless nature of vampires seems
also changed. The vampire protagonist Louis is almost
a positive character in this film that is kind and maintains the humanity. He
hates Lestat as well as himself as a vampire, and he tries to keep his humanity
and represses desires to blood and killing. The other vampires admire him
because of his kind, self-control, humanity, as well as his struggle and sorrow
as a vampire. However, Louis is hesitant
and passive towards admire and love, he thinks he cannot control his fate and
he is unclear to his feeling of love. The only thing that he insists in is
keeping his humanity, and his only defiance and killing is for the revenge for
Claudia at the end.
From the vampire character Louis, we can
see the theme of this film is about humanity, which makes the films impressive
with strong emotional power. The vampires have permanent life and forever young
appearance, but they are tired with unchanged life and loneliness, they wonder
the meaning of their existence. Such as the young girl Claudia, she longs for
love and the normal life as a human, since her appearance will never change as
a vampire. And as for Louis, he is hesitate of being more like human or vampire,
and he is struggling between the love from Claudia and Lestat. From the thesis “Blood
Relations: The Gothic Perversion of the Nuclear Family in Anne Rice's Interview
with the Vampire”, as Benefiel indicates that throughout the film Interview with the Vampire, the vampire “preyed
with impunity, they gave themselves over to introspection, and they sought and
found an entire subculture based on their own peculiar existence. They existed
in a different world, and the old models no longer applied” (Benefiel264). The
desires of vampire also become more complicated which relate to love and
company. All these elements make the vampire image more emotional, humanized,
and charming which has a large gap between early ones.
4. The Twilight Saga (2008-2012)
At last, come to 21st
century, with the influence of
popular culture and the development of commodity economy and mass media, modern
films and televisions pays more attention on following the trend of
popular culture, and meeting the demand
of audience. The theme of love is emphasized in most contemporary works, which
attracts particularly the young audience. Besides, in modern society, facing
the a series of situation problems such as the high divorce rate and family
violence, the pursuit to pure and youthful love expressed in contemporary works
also reflects people’s good wish to realistic social life, and give them a spiritual
comfort. On the other hand, in the modern time, with the development of popular
culture and technology, audience’s interests to magic and the
mentality of superhero worship is growing especially in America. To meet the
demand of audience, many contemporary films are made add up with the elements
of magic and heroism. In the thesis “From
demon to daimon: A mythic and depth psychological analysis of the American hero
vampire”, Pierce explores the different image of vampire as a superhero to imply
that it reflects American psyche, and the new idea of heroism in American
culture which is about “moving from self-loathing to wholeness, from isolation
to relatedness, and from merely wielding a sword to applying the imagination to
uncover new ways of being” (Pierce21). All these social and cultural factors
about love, magic, and heroism can be reflected in the latest popular vampire
film The Twilight Saga (2008-2012).
The image of vampires in this film has a
great change and innovation. In appearance, different from many former figures
of vampire who are middle-aged, the protagonist vampire Edward in The Twilight Saga is a young and
handsome high school student. Except him, other vampire members in his family
are all good-looking. They have whiter skin, beautiful eye pupil which can
change color, and vivid and natural facial expression. They are not afraid of
sun, but their skin will shine like the gem under the sunlight. Vampire in this
film also has fast speed, strong and vigorous body that is different from early
description of vampire with thin frame and gaunt appearance. Besides, vampire
does not have very strong desire to human blood. In Edward’s family, vampires
only drink the blood of animal to subsist, and they try to control their natural
desire. So, the film describes less about killing and sexual violent, but the
desire of pure love. Edward falls in love with a human girl Bella when they
meet at school. It is a romantic scene in the film which shows the theme of
love, and makes vampire character more human-like and emotional.
In addition, represented as a heroic character, Edward controls his impulse
to hurt Bella but protects her from the attack of hostile vampires. Like Backstein
indicates in the article “(Un)safe Sex: Romancing the Vampire”: “in Victorian
vampire stories, such as "Dracula," the heroines were vulnerable and
met misfortune when they succumbed to the seduction of dangerous men. Modern
vampires, however, work to control their impulses so as not to harm the heroine,
who is strong, resourceful and smart” (Backstein39). This shows the relationship
between vampire and human changes from antagonistic into friendly and codependent.
In social relationship, vampire Cullen is a doctor who is in the upper middle
class and Edward is a student. Their occupation makes them become closer to
human and fit into society, instead of avoiding communication with human society
and hiding at their castle like Count Orlok and Dracula.
Conclusion
Therefore, with the development of vampire films, we can assume that the
role of vampire has changed from a horrible, evil, and violent figure into a
more humanized, emotional, and charming role from early to modern times base on
four vampire films: Nosferatu (1922),
Bram Stoker's Dracula (1992), Interview with the Vampire (1994), and
The Twilight Saga (2008-2012). And the changes also reflect the different social-cultural phenomenon and
its development during these specific time periods.
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