Comparative Analysis Of Two Vampire Films

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Throughout the development of horror cinema – the figure of the ‘vampire’ has changed and progressed dramatically. When thinking of the ‘classic’ figure of the ‘vampire’ – one of the first that comes to the minds of most is none other than Hammers Dracula (Horror of Dracula; 1958). The stereotypical judgments or thoughts towards the ‘classic’ vampire figure – in this case, Dracula – is most notably known to be from Transylvania. He seduces and lures his victims in order to suck blood for survival and also finding pleasure in the process of his kill. Ultimately, Dracula is portrayed as evil, a threat to society and a menace. Then in the new millennium, suddenly there was a sudden popularity rise in film and television in the ‘new’ and more ‘progressive’ vampire. Some of the many examples are Twillight (2008, Hardwicke), Blade (2004, Goyer), Underworld (2003, Wiseman) and True blood (2008, Ball). We see the development of the ‘vampire’ in the way these examples – including Let the right one in (2008) – and these ‘vampires’ we used to see as threats no longer seem scary and have formed a league of their own. They are even to some extent accepted in the societies that they are in despite their ‘otherness’ – a notion that I will explore and apply to both films raising other issues such as gender, sexuality, the monstrous child, foreign threat, ‘normality’ and the fear of male and female imbalance in dominance. I intend to use the two films as an illustration of how the development of the vampire in cinema as a way to understand the evolution of horror from reactionary and classic to a more modern and progressive genre. Firstly, when thinking of Eli – the new and progressive vampire figure in Let the right one in – She is a twelve-year-old vampire who although is presented as a girl, is ultimately without gender and aesthetically speaking, the darkness of her hair

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