Argento's Dracula by
Horror maestro Dario Argento puts his unique stylistic spin on the classic supernatural tale. It's been 400 years since Count Dracula's beloved Dolingen passed away, but when he discovers that Mina bears a striking resemblance to Dolingen, his furious yearning is reawakened as he believes Mina to be a reincarnation of his beloved. Dracula embarks on a bloody quest to reunite with his long lost love and live forever with her in hellish immortality.
Bram Stoker's Dracula by
15th-century warrior Vlad goes off the fight the Turks. Upon his return, he finds that his wife Elisabeta, hearing he was dead, has killed herself. Maddened by this injustice, Vlad curses God, and becomes the immortal blood-eating fiend known as Count Dracula--for centuries. When English attorney Jonathan Harker journeys to Dracula's castle, the Count sees a photograph of his fiancée, Mina Murray. Dracula's patience has been rewarded--Elisabeta lives again! The Count goes to dastardly lengths to possess Mina, while her best friend Lucy, Lucy's three suitors, and Prof. Abraham Van Helsing all become entangled by Dracula's quest. The modern age is dawning, even in Transylvania. Will the Count triumph, or be relegated to the past?
Dracula by
The tale of the Carpathian count who leaves terror in his wake as he travels from his home in eastern Europe to lease Carfax Abbey in London. Based on the hit Broadway stage adaptation of Bram Stoker's novel, by Hamilton Deane and John L. Balderston.
Argento's Dracula (2012) dir. Dario Argento
Blood for Dracula: Andy Warhol's Dracula (1974) dir. Paul Morrissey
Count Dracula (1970) dir. Jess Franco
Dracula's Fiancée (2002) dir. Jean Rollin
Nosferatu (1922) dir. F.W. Murnau
Nosferatu the Vampyre (1979) dir. Werner Herzog
Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen by
A fully updated edition of David J. Skal's Hollywood Gothic, "The ultimate book on Dracula" (Newsweek). The primal image of the black-caped vampire Dracula has become an indelible fixture of the modern imagination. It's recognition factor rivals, in its own perverse way, the familiarity of Santa Claus. Most of us can recite without prompting the salient characteristics of the vampire: sleeping by day in its coffin, rising at dusk to feed on the blood of the living; the ability to shapeshift into a bat, wolf, or mist; a mortal vulnerability to a wooden stake through the heart or a shaft of sunlight. In this critically acclaimed excursion through the life of a cultural icon, David J. Skal maps out the archetypal vampire's relentless trajectory from Victorian literary oddity to movie idol to cultural commodity, digging through the populist veneer to reveal what the prince of darkness says about us all. Includes black-and-white Illustrations throughout, plus a new Introduction.
Bram Stoker's Dracula: The Film and the Legend by
Includes the complete shooting script, excerpts from the original novel, more than 160 photos and drawings, showing the brilliant costumes, evocative sets, and historical antecedents; features on director's innovative methods, the technical challenges, the film's literary and historical links; a Dracula filmography and bibliography. 160 illustrations including 100 in color. The Newmarket Pictorial Moviebooks, official companions to films, large format (8 3/8 x 10 7/8), heavily illustrated throughout, with color photographs, details on the making of the film, background on the filmmakers and cast.
Dracula by
Hammer Horror's "Dracula" was released in 1958 to a mixture of shock, outrage and praise. Yet this version of the Dracula tale, directed by Terence Fisher, was a milestone both for British cinema and for the horror genre. It made an international star of Christopher Lee and confirmed Hammer Films as one of the world's leading purveyors of cinematic terror. Peter Hutchings reveals how Hammer's newly eroticized version of "Dracula" differs from its previous incarnations. He explores the film's symbolism and narrative structure, as well as its potent sexuality and controversial take on gender. Aimed at students of film and fans of the horror genre, this lively guide reveals the legacy which Hammer's "Dracula" has left to cinema.
Uncanny Bodies: The Coming of the Sound Film and the Origins of the Horror Genre by
In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.
Dracula As Absolute Other: The Troubling and Distracting Specter of Stoker's Vampire on Screen by
Dark, dangerous and transgressive, Bram Stoker's Dracula is often read as Victorian society's absolute Other--an outsider who troubles and distracts those around him, one who represents the fears and anxieties of the age. This book is a study of Dracula's role of absolute Other as it appears on screen, and an investigation of popular culture's continued fascination with vampires. Drawing on vampire films spanning from the early 20th century to 2017, the author examines how different generations construct Otherness and how this is reflected in vampire media.
Studying Hammer Horror by
When Hammer Productions was formed in the 1920s, no one foresaw the impact this small, independent studio would have on the international film market. Christopher Lee's mesmerizing, animalistic, yet gentlemanly performance as Dracula, Frankenstein's Monster, and the Mummy were celebrated worldwide, and the Byronic qualities of Peter Cushing's Dr. Frankenstein, among his many other Hammer characters, proved impossible to forget. Hammer maintained consistent period settings, creating a timeless and enchanting aesthetic. Studying Hammer Horror treats Hammer as a quintessentially British product and through a study of its work investigates larger conceptions of national horror cinemas. The book examines genre, auteur theory, stardom, and representation within case studies of Curse of Frankenstein (1957), Twins of Evil (1971), and Hammer's latest film, Beyond the Rave (2008). Walden weighs Hammer's impact on the British film industry, past and present. Intended for students, fans, and general readers, this book transcends superficial preconceptions of Hammer horror in order to reach the essence of Hammer.
The Films of Terence Fisher: Hammer Horror and Beyond by
Tracing the entire career of the British director Terence Fisher, best known for his Gothic horror films for Hammer-such as The Curse of Frankenstein (1957) and Dracula (1958)-The Films of Terence Fisher covers not only his horror films, but also his film noirs, comedies, and early apprenticeship work to create a full picture of Fisher's life and work. Brimming with rare stills, interviews, and detailed analysis of Fisher's films-both for Hammer as well as his earlier work-this is the ultimate "one-stop" book on Terence Fisher, both in his horror films, and his entire body of work, as well as his legacy to the British cinema.