A comparative analysis of Bram Stoker's literary text of "Dracula" to Coppola's film version.
Written in 2003; 2,834 words; 8 sources; MLA; $ 84.95
Paper Summary:
This paper examines how there is no doubt that Stoker's "Dracula" is the literary locus classicus of the vampire,and how filmmakers across the world have used both names to depict horror in films. In particular it looks at how Francis Ford Coppola's distinctive 1992 version claims to adhere to much of the plot and characterisations of the novel with a metanarrative which is produced by a number of voice-overs and a cast of popular actors. It argues how Coppola's version claims no hold over the novel and is positively disappointing in its depiction of fear and fantasy that has maintained Stoker's novel in publication since the nineteenth century.
From the Paper:
"The horror of Dracula gains added impetus through Stoker's use of fear; fear of sexuality, and fear of regression. He chooses to elaborate on the dichotomy between the East and the West. The fear of a dead, feudal past, representing aristocracy, perversity and lust over a modern, living present, representing middle-class, normality and love. Dracula wants to relocate his horrifying operations in England, to seek new opportunities to satisfy his "sport" in the rational West that will be unsuspecting of his deathly activities. In moving these operations to contemporary London, Stoker is challenging present fears of a regression by using a power of a historically defunct aristocracy gaining control over the citizens of a modern, capitalist society."
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