• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

A comparison between the original Dracula movie (1931) and the (1994) movie Interview with a vampire

Extracts from this document...

Introduction

A comparison between the original DRACULA movie (1931) and the (1994) movie INTERVIEW WITH A VAMPIRE. Although the two films may be similar from being of the horror genre and vampirical sub-genre there are evidently several differences between the two. Our original (1931) was adapted from the novel written by Bram Stoker, Stoker's story is closely followed, using signifiers to link book and film. Interview With A Vampire was adapted from Anne Rices best selling book The Vampire Chronicles. The most obvious difference is date and location; both films use these elements to their advantage. Dracula is set in the 1930's using the two locations of the Transylvanian castle and the English manor house. ...read more.

Middle

In the 1930s the only cinema audience who could afford such a pastime were upper middle classes, and films, as we can see in Dracula, must appeal to their mass audience this is why we can note that the film is very theatrical with huge walls and over emphasised acting, costume and set. Now in the modern day audiences have broadened and it is possible for most people to watch a video or visit the cinema and the audience requires and expects as much realism as possible, the increasing quality of special effects helps this. Special effects are frequent in both films and the modern day effects of IWAV are fantastic and plentiful, for example the ascension of the vampires in particular when Lestat (Tom Cruise) ...read more.

Conclusion

This approach condemns the stereotypical courtship of upper-class couples seen in Dracula. There is also the fact that Dracula does not include the appearance of any ethnicity bar Caucasian. We are shown opposing narratives in both cases we side with the victims the only difference being that in IWAV the victim is a vampire a taker of lives. We are confronted with Dracula's overwhelming control over mortals and Luis' good hearted nature- a kind vampire? IWAV breaks all codes and conventions with Luis' reign of misery sorrow and compassion. In fact he would rather dine off the blood of bats and chickens than a tender slave- can you believe it!? The two films mirror and outshine each other up until the conclusion as we can see how the history of the fictional creatures has evolved. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE Bram Stoker section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related GCSE Bram Stoker essays

  1. How And Why Have Representations Of Dracula Changed Over Time

    So why are those 3 representations of Bram Stoker's Dracula so different? I think it's due to the time when the movies were made.

  2. What boudaries does the vampire threaten? Discuss possible answers to this question with ...

    This regression of female penetration has some basis within Freudian research into dreams. Nightmares, according to Freudian psychoanalysis, result from sexual oppression and occur most commonly in virgins, widows and nuns; and that the remedy is found in the love of a good or bad man (Jones, p. 87).

  1. Discuss possible answers to this question with reference to at least two critical or ...

    Jones (p. 85) argues that this can be seen in Browning's Dracula: From its very beginning as a literary trope, vampirism has always been used as a vehicle for more-or-less encoded articulations of sexuality and desire (as a way of writing about sex but without writing about sex), and importantly (though not exclusively)

  2. The Vampire is one of the most enduring figures in horror cinema.

    Several journeys in fact, for Murnaus' Nosferatu, Browning's Dracula and Vampyr all begin with the hero, or protagonist/victim in the case of Browning's 'Mr Renfield', travelling into a remote and desolate area, far out of their usual society. Renfield, and Harker, are on business; in Vampyr David Grey is holidaying

  1. Francis Ford Coppola's sumptuous, visceral and frightening movie "Dracula".

    In addition, this iniquity side of him views things very different in contrast to the majority of the world around him. For example, Jonathan Harker leaves fianc�e Mina and journeys to Transylvania to meet Count Dracula to complete a real estate transaction.

  2. "The Gothic is concerned primarily with representing transgression and taboo, there is nothing more ...

    Patrick McGrath gives the Gothic its due when he writes, "Before Freud the Gothic had exclusive access to the workings of the disturbed psyche and a monopoly on the depiction of strange and violent behaviour. Freud expanded and systematised that body of knowledge and called it psychoanalysis."

  1. Vampires. Carmilla was a wholly physical vampire, that was seen as simply a beautiful, ...

    'Carmilla' became a breakthrough in vampire literature. From this story on, not only were these creatures categorized just by love, but also by hunger and control. Stoker's Dracula was another of these sexual predators. He claimed women, conquered them, and lured them to his sexual inhibition.

  2. Monster/Vampire movies are concerned with sexual transgression,

    as a menstruating girl - this is the taboo that is violated in this scene. " (Gelder, 71) If we are to believe that there is a true symbolic equation between blood and semen in vampire films, then this scene possesses some possibly contradictory questions.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work