Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,6, University of Marburg (Institut für Anglistik und Amerikanistik), course: Blood, Lust, and (Un)death: Vampires in American and British Cultures, language: English, abstract: 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.

This comprehensive bibliography covers writings about vampires and related creatures from the 19th century to the present. More than 6,000 entries document the vampire's penetration of Western culture, from scholarly discourse, to popular culture, politics and cook books. Sections by topic list works covering various aspects, including general sources, folklore and history, vampires in literature, music and art, metaphorical vampires and the contemporary vampire community. Vampires from film and television--from Bela Lugosi's Dracula to Buffy the Vampire Slayer, True Blood and the Twilight Saga--are well represented.

Seventies British Cinema provides a comprehensive re-evaluation of British film in the 1970s. The decade has long been written off in critical discussions as a 'doldrums' period in British cinema, perhaps because the industry, facing near economic collapse, turned to 'unacceptable' low culture genres such as sexploitation comedies or extreme horror. The contributors to this new collection argue that 1970s cinema is ripe for reappraisal: giving serious critical attention to populist genre films, they also consider the development of a British art cinema in the work of Derek Jarman and Peter Greenaway, and the beginnings of an independent sector fostered by the BFI Production Board and producers like Don Boyd. A host of highly individual directors managed to produce interesting and cinematically innovative work against the odds, from Nicolas Roeg to Ken Russell to Mike Hodges. As well as providing a historical and cinematic context for understanding Seventies cinema, the volume also features chapters addressing Hammer horror, the Carry On films, Bond films of the Roger Moore period, Jubilee and other films that responded to Punk rock; heritage cinema and case studies of key seventies films such as The Wicker Man and Straw Dogs. In all, the book provides the final missing piece in the rediscovery of British cinema's complex and protean history. Contributors: Ruth Barton, James Chapman, Ian Conrich, Wheeler Winston Dixon, Christophe Dupin, Steve Gerrard, Sheldon Hall I. Q. Hunter, James Leggott, Claire Monk, Paul Newland, Dan North, Robert Shail, Justin Smith and Sarah Street.

A collection of essays by some of the world's leading scholars analyzing and celebrating the novel's legacy in popular culture.

While vampire stories have been part of popular culture since the beginning of the nineteenth century, it has been in recent decades that they have become a central part of American culture. Vampire Legends in Contemporary American Culture looks at how vampire stories—from Bram Stoker's Dracula to Blacula, from Bela Lugosi's films to Love at First Bite—have become part of our ongoing debate about what it means to be human. William Patrick Day looks at how writers and filmmakers as diverse as Anne Rice and Andy Warhol present the vampire as an archetype of human identity, as well as how many post-modern vampire stories reflect our fear and attraction to stories of addiction and violence. He argues that contemporary stories use the character of Dracula to explore modern values, and that stories of vampire slayers, such as the popular television series Buffy the Vampire Slayer, integrate current feminist ideas and the image of the Vietnam veteran into a new heroic version of the vampire story.

BRITISH TRASH CINEMA is the first overview of the wilder shores of British exploitation and cult paracinema from the 1950s onwards. From obscure horror, science fiction and sexploitation, to art-house camp, Hammer's prehistoric fantasies and the worst British films ever made, author I.Q. Hunter draws on rare archival material and new primary research to take us through the weird and wonderful world of British trash cinema. Beginning by outlining the definitions of trash films and their place in British film history, Hunter explores topics including: Hammer's overlooked fantasy films, the emergence of the sexploitation film in the 1950s and 60s, the sex industry in the 1970s, Ken Russell's high camp Gothic and erotic adaptations since the 1980s, gross-out comedies, revenge films, and contemporary straight-to-DVD horror and erotica.

2017 is the 60th anniversary of the release of Hammer’s first Gothic horror film and the birth of the British horror genre: The Curse of FrankensteinA complete guide to a perennially and hugely popular British movie genreAn ideal read for anyone from the interested newcomer to the experienced film buffFeatures popular British stars such as Boris Karloff, Sir Christopher Lee, Peter Cushing and Simon Pegg When Hammer broke box office records in 1957 with The Curse of Frankenstein, the company not only resurrected the Gothic horror film, but created a particularly British-flavoured form of horror that swept the world. The British Horror Film from the Silent to the Multiplex is your guide to the films, actors and filmmakers who have thrilled and terrified generations of movie fans. In one book, you will find the literary and cinematic roots of the genre to the British films made by film legends such as Bela Lugosi and Boris Karloff to Hammer’s triumphs starring Christopher Lee and Peter Cushing, and the post-Hammer horrors such as Peter Walker’s Frightmare and huge British-made successes, including Alien and the zombie craze of the 21st century. The history, films, stars, directors and studios, all in one fascinating, fun and fact-filled volume. Whether you are an absolute beginner or a seasoned gorehound, you will find everything you ever wanted to know about the British horror movie, but were too bone-chillingly afraid to ask.