I’ve just written a short essay on Dracula. It’s a scene study and had to include a comparison between a passage from a book and a scene from a film. It didn’t have to be an adaptation of the book, but whichever book and film I chose had to have some relevance to each other.
It’s only a couple of years since I read Dracula for the first time, I did a blog post on it here, and knew that Coppola’s film version was a little bit different, including a love story that didn’t appear anywhere in the book.
That was my starting point. I was going to write on the changes in characterisation of the vampire between Stoker’s evil monster, meant to repulse the reader, and Coppola’s anti-hero who invokes sympathy in the viewer. Instead, I ended up writing a comparison of the blood transfusion scenes and how they related to fears and anxieties present at the Nineteenth Century fin de siècle that emerged again during the late twentieth century. That’s the thing about close reading – once you start a simple analysis can lead you down all kinds of roads until you end up with something entirely different from what you initially thought the text/film was about.
As a result, it became an essay about contagion, sexual danger, syphilis and AIDS. The connection, of course, is the vampire as a symbol of disease and plague transmitted through blood.
In class, we’ve looked at how the vampire has changed over time from aristocratic monster, ravaging the countryside whilst feeding on the blood of peasants (Stoker’s vampire was based on Vlad Dracul whilst Joseph Sheridan Le Fanu’s lesbian vampire, Carmilla, has leanings towards Countess Bathory) to sparkly, teenage, lovesick puppy. We also watched Jim Jarmusch’s strangely mesmerising Only Lovers Left Alive, where the good stuff (blood that can only be obtained through dealers that work in hospitals) appears to be a narcotic substance in an unspecified dystopian future where human blood is contaminated with an undisclosed disease. The vampires refer to humans as zombies.
This means, of course, that I can see, very well where my own little vampire romance novel sits on the timeline and there’s definitely no hint of a glisten, a twinkle or even a shimmer. Nathan Blackwood has a job, a social conscience and a coffin full of secrets. Whilst I’ve taken a more traditional view of the vampire, the aversion to sunlight, the need for blood etc, I have introduced some contemporary elements. Incidentally, both Carmilla and Dracula could tolerate daylight, but their powers were diminished, so perhaps we shouldn’t consider this a traditional a trait after all.