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
Objectives and Key Themes
This paper aims to analyze the significant role of sexuality in British Hammer vampire films, specifically examining how this theme contributed to the genre's success and reflected societal changes in post-war Britain. The analysis focuses primarily on the female characters within the films Dracula (1958) and Dracula, Prince of Darkness (1966).
- The impact of post-war British society on the horror genre.
- The depiction of sexual awakening and transformation in Hammer vampire films.
- The exploration of various forms of sexuality within the context of vampirism.
- The portrayal of societal anxieties and changing moral attitudes through the vampire narrative.
- The influence of censorship and the changing film industry landscape on Hammer's approach to the genre.
Chapter Summaries
1. Introduction: This introductory chapter sets the stage by highlighting Terence Fisher's crucial role in popularizing British vampire films, particularly his 1958 adaptation of Bram Stoker's Dracula. It emphasizes the shift from earlier film adaptations that downplayed erotic elements to Hammer's innovative approach, which embraced and highlighted the inherent sexuality and lust associated with vampirism. The chapter outlines the paper's focus on Hammer's use of sexuality as a key thematic element in their vampire films, specifically analyzing Dracula (1958) and Dracula, Prince of Darkness (1966) and their portrayal of female characters' transformations under the influence of vampirism. It also establishes the methodology of incorporating scene timestamps for easy reference.
2. The Film-Industry in Post-War Britain: This chapter explores the socio-political context of post-World War II Britain to understand the rise of Hammer Films and their unique approach to the horror genre. It describes the lingering effects of war—hunger, disease, loss—and the unexpected persistence of a conservative class structure amid increased immigration and social tensions. The chapter discusses the breakdown of traditional family structures, the emergence of youth counterculture, and a "crisis of masculinity" as women entered the workforce. The rise of new film genres—Cold War films, science fiction, and horror—is presented as a response to these social changes, enabling a critique of societal issues while maintaining a degree of distance. The chapter specifically highlights Hammer's success in connecting talented dialogue, impressive sets and special effects, and the use of Technicolor with depth in characters, ultimately contrasting their approach to previous horror films.
3. Sexual Awakening: A Process of Transformation: This chapter delves into the portrayal of sexual awakening and transformation within the context of Hammer vampire films. It examines how the characters undergo physical and behavioral changes as they become involved with the vampire. Specific attention is likely paid to the visual representation of these transformations (changing looks) and the behavioral shifts that reflect the influence of vampiric desires (changing behavior). By exploring these shifts, the chapter likely examines the ways in which Hammer films use visual and narrative techniques to depict the allure and consequences of vampirism as a powerful force of transformation.
4. Sexuality and some of its Varieties: This chapter explores the diverse types of sexuality depicted in Hammer vampire films, delving into taboo themes such as incest, homosexuality, and pedophilia. The exploration of these themes may analyze how the films utilize these elements to create an unsettling and provocative atmosphere, thereby challenging societal norms and expectations of the era. The discussion may also consider the significance of these themes in relation to the overall portrayal of vampirism as a force that disrupts and challenges established social order.
5. Dealing with Sexuality: This chapter likely focuses on how the characters in the Hammer vampire films confront and deal with the complex themes of sexuality presented. It may discuss the reactions of both victims and those who oppose vampirism, exploring how the pervasive influence of sexuality shapes their actions and approaches to combating the threat of the undead. The chapter's analysis would likely explore the various strategies employed by characters and the ways these strategies reflect the prevailing social attitudes towards sexuality at the time.
Keywords
British Hammer Films, Vampire Films, Sexuality, Post-War Britain, Social Change, Dracula (1958), Dracula, Prince of Darkness (1966), Christopher Lee, Terence Fisher, Censorship, Horror Genre, Sexual Awakening, Transformation, Morality Play.
Frequently Asked Questions: Analysis of Sexuality in British Hammer Vampire Films
What is the main topic of this academic paper?
This paper analyzes the significant role of sexuality in British Hammer vampire films, particularly focusing on how this theme contributed to the genre's success and reflected societal changes in post-war Britain. The analysis primarily centers on female characters in Dracula (1958) and Dracula, Prince of Darkness (1966).
What are the key themes explored in the paper?
Key themes include the impact of post-war British society on the horror genre; the depiction of sexual awakening and transformation in Hammer vampire films; the exploration of various forms of sexuality (including incest, homosexuality, and pedophilia) within the context of vampirism; the portrayal of societal anxieties and changing moral attitudes through the vampire narrative; and the influence of censorship and the changing film industry landscape on Hammer's approach to the genre.
Which films are the primary focus of the analysis?
The analysis focuses primarily on two Hammer vampire films: Dracula (1958) and Dracula, Prince of Darkness (1966).
What is the methodology used in the paper?
The paper uses scene timestamps for easy reference and incorporates analysis of visual and narrative techniques used to depict the allure and consequences of vampirism.
What is the socio-political context explored in the paper?
The paper explores the socio-political context of post-World War II Britain, including the lingering effects of war, the breakdown of traditional family structures, the emergence of youth counterculture, a "crisis of masculinity," and the rise of new film genres as a response to social changes.
How does the paper address the portrayal of sexual awakening and transformation?
The paper examines how female characters undergo physical and behavioral changes as they become involved with vampires, analyzing the visual representation of these transformations and the behavioral shifts reflecting vampiric desires.
How does the paper address diverse forms of sexuality?
The paper explores taboo themes like incest, homosexuality, and pedophilia, analyzing how these elements create an unsettling atmosphere and challenge societal norms. It considers the significance of these themes in relation to vampirism's disruption of social order.
How does the paper address how characters deal with sexuality?
The paper examines how characters confront and deal with the complex themes of sexuality, discussing the reactions of both victims and those opposing vampirism, and exploring how sexuality shapes their actions and strategies in combating the threat of the undead.
What are the key figures mentioned in the paper?
Key figures mentioned include Terence Fisher (director) and Christopher Lee (actor).
What are the key words associated with this paper?
Key words include British Hammer Films, Vampire Films, Sexuality, Post-War Britain, Social Change, Dracula (1958), Dracula, Prince of Darkness (1966), Christopher Lee, Terence Fisher, Censorship, Horror Genre, Sexual Awakening, Transformation, and Morality Play.
- 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
