Carmilla was a wholly physical vampire, that was seen as simply a beautiful, fine, but ‘languid’ young lady. She was not halted by male authority, and unobtrusively preceded with her quest under the veil of Victorian femininity. In this way, vampirism is displayed not as monstrous, but erotically seductive. ‘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. He did this to both Lucy and Mena, however Mena survived, because her morals dictated that she be allowed to live. On the other hand, Lucy suffered the consequences of her sexual deviation.
Vampiric sexuality blends power and femininity within the same body, and then marks that body as distinctly alien. Dracula transformed pure and virginal women into seductresses. Lucy and Mena’s varying degrees of transformation stress an urgent sexual appetite, as does the three women who ambush Harker in Dracula’s castle. Jonathan later recalls in his journal “… I felt in my heart a wicked burning desire that they would kiss me with those red lips.”
In Dracula, only relations with vampires are sexualised, and indeed a deliberate attempt is made to make sexuality seem unthinkable in ‘normal relations’ between the sexes. In the novel, it is notable only Dracula produces his form, the female vampires do not infect, but simply feed off children. This itself symbolises paedophilia and an inversion of the maternal image.
The character of Dracula represents the antithesis of Victorian society. He breaks strong values such as morality, Christianity and the innocence of women. Nowhere is the sexual woman more violently and self-righteously persecuted than in this novel. Free and powerful characters, Dracula and his entourage of vampires may possibly stand for that which we want to be, and would be if it weren’t for morals and laws.
The vampire was monstrously evil, and often ugly, however it still bore a human form. This may be a reason for the popularity of vampires both past and present. The vampire is so compelling precisely because they are so repellent, and our imaginations are drawn because they represent such a distortion of human nature. Vampire literature seizes upon the raw and open desire within fascinated humans. Simply, it is so prevalent, because in our hearts, we want to be just like them – sleep all day, party all night. Never grow old, never die. Free of society’s constraints, the life of a vampire is rather appealing. The truth is, a vampire’s existence is not at all desirable. Driven by supernatural hunger, and the longing to be set free, it is only the eternal and powerful sexuality of the undead that could make such an existence tolerable.
The poem “Come Little Boy” is particularly sexual and exploits the innocence and purity of children. Although not spelt out for the audience, innuendos and particular phrases are enough to convey meaning. The poem is written from the perspective of a female vampire, and thus grossly inverts the maternal image. The vampire in the poem is sadistic, whipping the little boy until he bleeds, and chaining his hands. Of course, these metal chains are also a symbol of the new “life” he is about to lead. One difference in this appropriation is the idea that a female vampire can infect. The phrases “Wanting you only for the monster I can make you into”, “Drawing you in, I make you as I”, and “Taking your hand, as I lead you father into eternity…” all suggest this female vampire will send her victim into eternal damnation.
It has been stated, “Some say that at the end of the 20th Century, Vampirism is wearing down and vampires need a long restorative sleep. They will awaken, they always have; as Stoker’s Dracula boasted ‘Time is on their side…’ .”
Two years into the 21st Century, it is evident the vampires from “Buffy the Vampire Slayer” are still thriving. However, since the early 1990’s, with the widespread publicity of AIDS, the image of vampires has changed. Whereas blood was once seen as a beautiful, sensual thing, it is now thought of as an ugly, disease-carrying liquid.
It is evident in Buffy, that the vampires who roam the Sunnydale cemetery are hideous and possess little, if any sexual desire.
Before Angel moved to start his own series, there was evident sexual tension between him and Buffy. Even then, Angel was not your typical vampire. He supposedly ‘loved’ Buffy, and didn’t want to hurt her. He partly had a soul, until he was lured back to the dark side after a curse was activated. The only time when an evil vampire has used sexuality to lure a victim was when Buffy encountered Dracula himself.
The use of religion in the vampiric genre today, is nearly eradicated. We see the occasional cross to repel a vampire, but other than that – nothing. In fact, the show has gone so far from religion, that they never even mention God, and resort to Black Magic for power instead.
As a widely publicised vampire appropriation, Buffy can be quite explicit. No longer is the story left up to the audience’s imagination. Nothing about sex is taboo anymore, thus the only purpose for the series Buffy is entertainment and as a money-making scheme. Everything in this series is made to reflect what the people of this time expect and want. No more are vampire stories made to moralise society, such as in Carmilla and Dracula, but they are used to give society what they want to see, and not what society tries to hide, like in the Gothic Era.
The Dracula 2001 Trailer opens with visual flashes, which match the style of music. The music is eerie and changes to a satanic tone. The image of the cross is evident and the notion of rationality is present with the image of the two people levitating off the ground, as well as the wolf morphing into hundreds of bats. In the trailer, there is no significant attempt to protect women.
The purpose of this film is purely for entertainment, and to introduce a popular, original legend into the 21st Century. Once again, the sex-scenes are quite graphic, which is a by-product of our culture. We are no longer shocked, and expect sex to be incorporated into most, if not all M rated movies. This trailer attempts to promote the film as instilling fear into a familiar environment, such as London.. In the trailer, sexuality is expressed almost as dangerous, and a method by which infection can be spread. This is another cultural influence of AIDS in the early 1990’s. Sex in this clip is not innocent or beautiful – but seductive, immoral and possibly detrimental.
It has been suggested that our fascination with vampires is not due to a love of death, but based upon a natural desire to overcome the subconscious hurdle of old age and helplessness, as represented by a vampire’s sexual impotence – or its inability to create life. Vampires have had one core reason for existing in literature at all; to make social comment. Over the years our society and culture have changed, and thus a vampire’s ability to adapt to make comment on all aspects of human life, is the reason why they have survived over two centuries.
Nina Auerbach, the author of Our Vampires, Ourselves stated:
“An alien nocturnal species, sleeping in coffins, living in shadows, drinking our lives in secrecy, vampires are easy to stereotype, but it is variety that makes them survivors.”
