Please enable JavaScript.
Coggle requires JavaScript to display documents.
kiss of the vampire - Coggle Diagram
kiss of the vampire
product context
- directed by Don Sharp, produced by Hammer Film Productions, distributed by J. Arthur Rank and Universal.
- KoV was intended to be the second sequel to 1958's Dracula, although the film's script actually makes no reference to stoker's character. This is perhaps to distance itself from unfavourable comparisons to the suprerior Christopher Lee who starred in the original film.
- Hammer Productions enjoyed massive popularity from the mid 1950s to the 1970s when interest gradually waned. In 2007 the company was bought by a Dutch media tycoon and rebranded for a new generation producing new films with wider international appeal such as Let Me In (2010) and the Woman in Black (2012)
- In addition to Dracula, Hammer had, by 1963, success with other 'monster movie franchises such as The Mummy and Frankenstein. Distributers Universal also saw early success with films in this genre.
- historically, 1963 saw the early stages of 'Beatlemania' and the so-called 'swinging sixties', the assassination of JFK and the Soviet Union launching the first woman into space.
-
Representation
Women as victims
both women wear pale dresses made of light materials ad these dress codes serve to reinforce their femininity by highlighting the curves of their bodies and revealing the flesh of their upper chests and arms (objectifying them sexually).
The gesture code of the woman on the left is that of the stereotypical passive VICTIM of the 'monster', his power highlighted by the fact that he's holding her by just one arm.
Baring her teeth and with her arm raised almost fist-like as she's being bitten by the bat, the second woman's gesture codes are more aggressive, and the submissive pose of her male 'victim' (including being on his knees with his head back and throat exposed) represent her in a non-stereotypically dominant way.
Through this imagery it is cited that the poster itself challenges dominant ideologies (in 1963) in regards to gender as it is symbolic of the evolving gender politics at the time. Is the physical fight for domination between male and female vampire in the poster symbolic of 1960's societal struggles between sexes?
Male antagonist (enemy)
The vampire himself seems uncharacteristically fearful in his gesture codes with his arm thrown across his body in a defensive gesture, perhaps protecting himself from the female vampire.
His eye contact is both fearful and fixed purely on the female vampire, suggesting both her dominance and his 'lack of control' over her, signifying the rise of female expression in a previous male dominated/controlled society.
He is also leaning back to escape her ferocious and empowered nature - he is no longer comfortable being in her close proximity. The times are changing and this ancient 'beast' (representing man perhaps?) is not comfortable with the scenario.
theoretical approaches
-
-
-
-
Laura Mulvey's Male gaze
The poster is clearly meant to be read as if from the positioning of a heterosexual male - clearly illustrated by the sexualisation/objectification of both female characters within it. Even in the case of the 'scary' female antagonist, she is more defined by her lack of clothing than her aggressive behaviour. Note how she is dressed and her posture - all aiding in the emphasis of her naked shoulders and having her tatas out.
cultural context
- the 60s audience for the advert may be familiar with the codes and conventions of 'monster movie' film posters --> e.g. its composition, fonts and representations of 'the monster and its usually female victims.
- intertextual reference to 'The Evil of Frankenstein' (1964) --> the monster looming towards the reader using an intimidating and terrifying direct mode of address and a font which is dripping, supposed to be like blood or melting flesh.
- intertextual reference to 'Blood From The Mummy's Tomb' (1971) --> the passive use of women. even the queen in the background is seen as less intimidating and more of an object of sexual gratification. bloody text and a disembodied hand complete the horror genre emphasis, plus colour scheme.