Terence Fisher's masterpiece was his 1958 movie version of Bram Stoker’s Dracula, starring Christopher Lee and Peter Cushing. With the huge success of that film, Fisher and Hammer Films started a whole new era of horror movies. Other Dracula films were to follow.
Vampirism has traditionally been associated with lust and sexuality, which becomes clear in various modern vampire movies. But this is rather an exception because the film history of blood suckers demonstrates that, when times were different, vampires were depicted differently, too. In Fisher's films, sexuality began to play a bigger role in the genre than ever before and became the key to success of each and every vampire film made by Hammer.
Using two of the early Hammer movies, Dracula (1958) and its sequel Dracula, Prince of Darkness (1966), this paper will not only present the necessary historical background that made it all possible but will also analyze these movies with regard to the role of sexuality in them.
Table of Contents
1. Introduction
2. The Film-Industry in Post-War Britain
3. Sexual Awakening: A Process of Transformation
3.1 Changing the Looks
3.2 Changing the Behavior
4. Sexuality and some of its Varieties
4.1 Incest
4.2 Homosexuality
4.3 Pedophilia
5. Dealing with Sexuality
6. Conclusion
7. Appendix: Cast and Crew Information and Pictures
8. Works Cited
Objectives and Core Themes
This paper examines how Hammer Films used the theme of vampirism in the movies Dracula (1958) and Dracula: Prince of Darkness (1966) as a conduit to address changing social attitudes toward sexuality and morality in post-war Britain.
- The historical transformation of the British film industry after World War II.
- The visual and behavioral manifestations of "sexual awakening" in female vampire characters.
- An analysis of specific sexual taboos, including incest, homosexuality, and pedophilia, as represented in the films.
- The role of the "purification" process and the restoration of traditional patriarchal order.
- The contrast between victimized women and the authoritative, celibate male figures who combat vampirism.
Excerpt from the Book
3.1 Changing the Looks
In the first movie we see Lucy being transformed into a vampire and Mina being on the threshold of becoming one. In Prince of Darkness we have Helen turn into a vampire and, as in Dracula, Diana in a state in-between.
At the beginning, Mina is presented as a graceful, well-educated and moral lady, wearing the Victorian clothes typical of women at that time. Corset, a wide dress with long, puffed sleeves and narrow collar determine Mina’s style of clothing. She wears her hair in a bun kept together by small hairpins. Her feet are never visible since her long dress covers them just as it is expected from an upper-class woman. In later scenes, when she leaves the house, she wears a scarf around her neck, as well as a hat and cape. Her outward appearance can simply be summarized as a style that makes the display of skin impossible. The same is true for Helen and Diana in Prince of Darkness. Both women wear clothes typical of their superior position in society. The color of their clothes is mainly dark, moss-green and wine-red with a slight touch of brown. Their hairstyles are as monotonous as Mina’s: put up in a bun (Helen) and pigtail (Diana). And just like in Mina’s case, the function of their clothes is mainly to cover their bodies rather than to be practical.
Summary of Chapters
1. Introduction: Outlines the significance of Terence Fisher's Dracula and establishes the paper's focus on the sexual undercurrents within Hammer's vampire films.
2. The Film-Industry in Post-War Britain: Discusses the social and industrial shifts in Britain, including the "crisis of masculinity" and the rise of horror as a means to critique societal norms.
3. Sexual Awakening: A Process of Transformation: Explores how characters change visually and behaviorally upon infection, contrasting Victorian modesty with the "liberated" state of the vampire.
4. Sexuality and some of its Varieties: Analyzes specific sexual subtexts, namely incest, homosexuality, and pedophilia, as depicted in the chosen Hammer productions.
5. Dealing with Sexuality: Examines how the films resolve the threat of sexual deviance through the intervention of authoritative male figures and the ritualistic destruction of vampires.
6. Conclusion: Summarizes how Hammer transformed the vampire genre by integrating moral and social criticism into their horror films.
7. Appendix: Cast and Crew Information and Pictures: Provides detailed technical and cast credits for the two films analyzed.
8. Works Cited: Lists the academic and historical sources used in the paper.
Keywords
Hammer Films, Dracula, Terence Fisher, British Cinema, Post-war Britain, Vampirism, Sexuality, Sexual Taboos, Victorian morality, Censorship, Gender roles, Incest, Homosexuality, Pedophilia, Gothic horror.
Frequently Asked Questions
What is the central focus of this term paper?
The paper explores the role of sexuality in the British vampire films produced by Hammer, specifically focusing on Dracula (1958) and Dracula: Prince of Darkness (1966).
What are the primary themes addressed in the analysis?
The core themes include the impact of post-war social change on the horror genre, the visual symbolism of the "female vampire," and how these films represented taboo topics like incest and homosexuality.
What is the main research question or objective?
The objective is to demonstrate how Hammer Films utilized vampirism as a metaphorical vessel to reflect and criticize the shifting moral attitudes of the late 1950s and 1960s.
Which scientific or analytical approach is used?
The author uses film analysis and historical contextualization, drawing on theories of social history and film criticism to interpret character transformation and plot devices.
What does the main body of the paper cover?
The body covers the historical background of the film industry, a detailed analysis of how looks and behavior change after vampiric infection, and a breakdown of sexual varieties within the narratives.
Which keywords define this work?
Key terms include Hammer Films, Dracula, sexuality, Victorian morality, and British horror cinema.
How does the author define the "transformation" of female characters?
The author describes a shift from "graceful, Victorian ladies" to "sexual animals" who display their skin, exhibit predatory behavior, and reject their traditional patriarchal roles.
How is the "triumph of good over evil" presented in these films?
The author argues that order is restored through the "purification" of infected women by male authority figures, effectively ending their sexual agency and returning them to a state of traditional Victorian order.
- Quote paper
- Roman Büttner (Author), 2004, The Role of Sexuality in the British Vampire Films by Hammer, Munich, GRIN Verlag, https://www.grin.com/document/86608
