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Vampirism in Movies, 2004.
A look at how vampires are portrayed in two movies, ?Bram Stoker?s Dracula?, and Anne Rice?s Gothic, ?Interview with the Vampire?.
1,631 words (approx. 6.5 pages), 0 sources, $ 53.95
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Abstract
This paper analyzes these two movies and explains that both these movies show us the good and bad sides of a vampire. It explains how they show us a different picture from both sides. Louis is the guilty vampire who seeks a life of redemption, while Dracula is the soulless vampire who is eventually staked to save humanity.
From the Paper
"Vampires have always been fascinating fictional characters. We were introduced to vampires in Bram stoker?s novel ?Dracula?. It was the first book to portray a nocturnal being who feeds on the blood of human beings in order to exist. This was the world?s first experience with a vampire. It was also turned into a feature film. That movie set the trend for horror movies in Hollywood. A lot of movies have been made which showed vampires in different avatars. Vampires are one of the most recognizable people from horror movies. Movies such as ?Dracula? and ?Interview with the vampire? have plots which revolve around vampires. TV wasn?t left behind with its portrayal of vampires in the critically acclaimed ?Buffy the vampire slayer?. However vampires have been portrayed as different creatures on the big screen as well as small screen. There are a number of differences between the vampires in the feature film adaptation of Bram Stoker?s ?Dracula? and Anne Rice?s Gothic ?Interview with the vampire?."
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The Theme of Vampirism in Poe's Ligeias, 2001.
The similarities between both Ligeia and tuberculosis sufferers and vampires.
1,400 words (approx. 5.6 pages), 6 sources, $ 46.95
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Abstract
The paper starts by documenting vampiric traits and their appearance in literature, starting with Henrich August Ossenfelder?s "Der Vampir" in 1748 up to Bram Stoker's "Dracula" in 1897. It then cites various examples of how the character Ligeia could be seen as vampiric. The paper also looks in detail at the effects of tuberculosis and how it affects people both mentally and physically also the similarities between the image of a vampire and that of a tuberculosis sufferer.
From the paper;
"This paper will focus on the theme of vampirism in Edgar Allan Poe?s short story "Ligeia." In order to make the paper more understandable and explain my research, I will begin by defining what characteristics constitute vampire-like qualities. Then, I will demonstrate how Ligeia meets those parameters.
"The first recognizable literary work dealing specifically with vampires came in 1748 from Germany. Henrich August Ossenfelder?s Der Vampire this was a brilliant poem that introduced vampires to modern literature. In 1819 though, nearly 50 years after Der Vampire was introduced, John Polidori, a prominent author, wrote the significant story, The Vampiree, which was the catalyst for vampire literature in Europe. Edgar Allan Poe wrote Ligeia in 1838.It was not until 1897 that Bram Stoker wrote the novel which defines the most widely accepted characteristics of the vampire."
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Vampires: Fact or Fiction?, 2004.
A look at the historical facts behind the vampire myth.
1,541 words (approx. 6.2 pages), 10 sources, MLA, $ 50.95
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Abstract
This paper examines how it is clear from novels and movies, such as ?Interview with the Vampire? and Bram Stoker?s "Dracula?, and long-surviving TV shows, such as ?The Musters? and ?The Addams family?, that there is a genuine folklore fascination with vampires. It analyzes how the vampire genre is a perfectly legitimate theme for horror stories, as legitimate as ghosts, werewolves, and other monsters. It also discusses the lack of empirical evidence as to the genuine existence of vampires, past or present. It shows how myths and folklore about vampires are part of the landscape of history and very easy to come by for researchers, but factual evidence is far more difficult to obtain.
Outline
Vampire Folklore and the Burning of Corpses
Believers, Murderers and Some History of Vampires
Conclusion
From the Paper
"This phenomenon of burning the corpse of a suspected (or ?known?) vampire is universally present throughout folklore literature, notably in the richly descriptive vampire book edited by Alan Dundes . There are myriad customs when it comes to the burning, however. In Romania, for example, as recently as 1914 (Dundes, 17), the vampire corpse was ?disinterred,? undressed and put in a bag; the clothes were put back into the coffin, sprinkled with holy water, and the coffin was returned to the grave. The body was taken to the forest, the heart was cut out, and the body cut up in pieces, and burned, piece by piece, with the heart being burnt last. Those present came near the fire when the heart burned, so the smoking from the burning vampire heart passed over them, to ?protect? them."
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Vampires, 2003.
A discussion on why the vampire has been such a popular and enduring cinematic monster by the comparative analysis of several key vampire films.
1,574 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
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Abstract
This paper examines how the immortality of a vampire is just one of a number of key features appearing consistently throughout example texts of this enduring sub-genre and how this eternal life seems to have translated itself into popular cinematic immortality, as the vampire has been the focus of film-makers creative endeavours almost since the introduction of cinema. It attempts to shed light on this phenomenon and unearth the secret behind the eternal life of these undead movie stars who have gripped the imagination of generations of audiences and look no nearer to loosening their hold today. It examines a number of texts and theories, offering a comparative analysis between both classical and post-classical versions, as well as identifying the variations within the periods themselves.
From the Paper
"Throughout the history of vampire cinema hundreds of films have featured the ubiquitous blood-sucker although it is nigh-impossible to discover amongst them films which contain more than a handful of thematic or stylistic similarities. Nosferatu, for example, has a strikingly different visual style to even the 1931 Browning and Lugosi adaptation. Max Schrek?s Count Orlock is much more rodent-like in his appearance than the creepy but still dapper Dracula. The visual differences don?t end there. The expressionist influence in Nosferatu is unmistakable, with the now legendary shadow of the vampire ascending the stairs in Nosferatu a significant example of the lighting style employed."
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Vampires of Literature, 2005.
This paper compares two vampires---the archetype Count Dracula from Bram Stoker's "Dracula" and the flamboyant Lestat De Lioncourt from Anne Rice's "Vampire Chronicles".
1,150 words (approx. 4.6 pages), 0 sources, MLA, $ 39.95
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Abstract
This paper explains that protagonist vampires in all traditions differ from other mythical supernatural beings in their resemblance to humans; Anne Rice's Lestat De Lioncourt possesses human qualities such as a spirit and a mind in different proportions than Bram Stoker's old Dracula. The author points out that the Count is not freed by immortality but imprisoned by it; therefore he has no companions but those unfortunates who find themselves like rodents in a mousetrap in the dingy abysses that he calls home; he would never take a nun as a lover as does Lestat De Lioncourt. The paper relates that the true fans of horror no longer want to be frightened by the mere fantasy of the fearsome as Count Dracula; they want to be scared to their very core by a protagonist vampire that resemble themselves such as Lestat De Lioncourt.
From the Paper
"Lestat, also known as 'the brat prince,' is endowed with an unusual wealth of talents and is the most passionate of Anne Rice's vampires by far. However, he and the rest of Rice's vampires can all be killed in the same ways. A stake through the heart or a crucifix won't do a thing to these nearly indestructible beings. In fact, as Louie once said in "Interview with the Vampire," they are "actually quite fond of looking at crucifixes." Decapitation only delays resurrection, regardless of how the remains are scattered. The only two ways to kill Rice's vampires are by fire or by somehow placing them in the sun (which would cause them to ignite into flames, thus making this death a mere variation of the expiration by fire). "
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Paul Barber's "Vampires, Burial, and Death", 2005.
Book report on Paul Barber's book about the history of vampires.
1,566 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
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Abstract
This paper summarizes the history of vampires as presented in Barber's book "Vampires, Burial, and Death". The paper highlights the most important topics in the book, including what types of people typically became vampires, how vampire characteristics differed from culture to culture, and methods used for discerning vampires.
From the Paper
"After reading the book "Vampires, Burial, and Death" by Paul Barber, it was shocking to learn about the first documented cases of vampires, and how they did not come remotely close to most of the vampire stories that one hears in modern times. It would appear that the modern world is living under a misconception of what a vampire is, or was considered to be. Vampires did not have long canine teeth that they used to puncture the neck of their victims. It did not take an actual bite from another vampire for a dead person to become one as well. An interesting quote from the novel is: ?from the point of view of our informants, the factors that bring revenants into existence fall into the following broad categories: (1) predisposition; (2) predestination; (3) events: things that are done to people, things that are done to people, things that they do, things that happen to them; and (4) nonevents: things that are left undone.? This is a fascinating statement that leads one to believe that no one is safe from becoming a vampire when they die. It would appear that almost any scenario in the world could fall into one of these categories, which would make it easy to place the blame for small mishaps and large ones on dead people who could not respond to deny these transgressions. The methods of making sure one does not become a vampire are almost as ludicrous as the reasons that one might become a vampire."
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Vampires: Straying From the Path of Righteousness, 2002.
This paper looks at the historical vampire and evidence that disproved them.
2,960 words (approx. 11.8 pages), 32 sources, MLA, $ 87.95
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Abstract
An in-depth look at the history of the vampire giving examples of famous past figures claiming to be vampires. It looks at the symbols in the vampire culture and what they mean - blood, church, religion. The paper then tries to examine medical excuses for vampires - anemia, catalepsy etc.
From the Paper
"Vampires have been around since the beginning of time. People have used them to explain things they thought were unexplainable. ?Vampires are mythical creatures who overcome death by sucking the blood from living humans (Vampires).? [See addendum A] In our modern society, when people see a picture of a vampire they are supposedly overcome with feelings of longing, whether consciously or unconsciously. Vampires, in our eyes, are elegant, debonair, gorgeous, sexual, and desirable. What vampires want mimics what people want: all of their hidden desires and secrets. They are outlets for a society where the line between good and evil is bold, where everything is black or white. Aspects found in vampires are the same aspects that are found in us. Vampires rise not in the morning but at night when the world turns out its lights and darkness descends on the people. Some people yearn for the carefree life that is the vampire. A vampire is law unto himself. And most importantly, what people believe to be evil becomes their vampire. But to people who lived long ago, vampires were minions of the Devil, evil incarnate, monsters capable of turning others from the path of righteousness and God to the Devil and darkness. The key aspect of the vampire is death. They can be killed and yet still are thought of as immortal. People will never truly understand all there is about the vampire world. The understanding of the historical vampire, the evidence that disproved them and the real vampires of the modern world are all part of the vampire phenomenon."
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Lestat, the True Vampire, 2001.
This paper examines some legendary folklore dealing with vampires.
1,235 words (approx. 4.9 pages), 1 source, MLA, $ 42.95
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Abstract
This paper uses the character of Lestat, in Anne Rice's "Interview with the Vampire," to illustrate some of the common stereotypes associated with the mythical vampire. The author talks about vampires and how these stereotypes came into being. Using Lestat's character and several examples from the story, the author illustrates these stereotypes of a traditional vampire which include immortality, egotism, seduction and the destroyer of society.
From the Paper
"Egotism, an exaggerated love for one?s self, makes a person seek things that are in his or her best interest. Egotists, therefore, will go to all measures in an attempt to achieve their desires, including controlling and manipulating others; this is yet another common trait of the traditional vampire. Lestat?s actions and treatment of other vampires demonstrate his egotistical manner. He turns Louis into a vampire so that he can gain control of Point du Lac, Louis? plantation, and have Louis ultimately serve as his slave. When Louis tells Lestat that he is not his slave, Lestat states, ?that?s how vampires increase...through slavery. How else?? (Rice 84). Lestat spends Louis? money on material possessions in order to lead a more luxurious life; using Louis to satisfy his own interests clearly shows Lestat?s egotistical demeanor. Once Louis begins to show signs of rebellion, however, Lestat goes to even greater extremes to prevent Louis? departure."
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The Female Vampire as Sexual Deviants, 2003.
An analysis of films from the 1970's that portray female vampires as sexually deviant and evil.
1,195 words (approx. 4.8 pages), 6 sources, MLA, $ 40.95
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Abstract
This paper examines how classically male vampires in horror films are portrayed in a sympathetic light as tortured men who are suffering from a compulsion rather than having homicidal tendencies. It looks at how the female vampires of the 1970?s, however, are depicted in a completely different manner. They are young, beautiful, and unrepentant; their goal is not only to satisfy their cravings, but also to corrupt and consume the souls of their victims. It analyzes how filmmakers of this era depict these strong, sensual women as sexual deviants through a review of such films as "The Vampire Lovers" (1970), "Lust for a Vampire" (1971), and "A Filha de Dracula" (1972).
From the Paper
"By the 1970?s, monsters in horror films changed a great deal, especially in the case of female monsters. The stereotypical masculine lesbian expected by audiences was replaced by the heterosexual male fantasy of the hyper-feminine woman (Cook 45). In female vampire films, young, nubile women strut about, often without their clothes, purely for the benefit of the heterosexual male audience. They are portrayed as carefree and unrepentant; the curse that burdens the male vampire is conspicuously absent from these films. ?Hedonism above compulsion? (Silver 112) is accentuated as the primary source of motivation for their deviant behavior. The female vampire?s victims, similar to those of the male vampire, are young and na?ve, yet there is a romantic aspect that is not present in male vampire films. The female vampire derives as much pleasure from the seduction of her victim as she does from drawing blood."
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The Vampire and Gothic Literature, 2004.
An analysis of the changing representations of the vampire in Gothic literature.
2,215 words (approx. 8.9 pages), 5 sources, APA, $ 68.95
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Abstract
This paper examines vampire literature and its preoccupation with polymorphous sexuality, homosexuality, gender, compulsory heterosexuality and Christianity. It primarily focuses on Anne Rice's "Vampire Chronicles" ("Interview with a Vampire") and Bram Stoker's "Dracula".
From the Paper
"Anne Rice's debut novel, Interview with the Vampire, presented the moral agony of Louis de Pointe du Lac, the young American French Catholic vampire from New Orleans who had been created by an older and more cynical French vampire, Lestat de Lioncourt. His life story, as told to a young journalist, not only describes life with his maker and especially Lestat's other creature, the six-year-old Claudia, but does so from the perspective of an anguished person who experiences typical vampire blood lust, but cannot bear to take human life. While other vampires in literature, including Lestat, have embraced their evil and murderous natures without conscience, Anne Rice was the first to show the moral ambivalence a fledgling vampire might feel."
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The Art of Anne Rice's "Interview With the Vampire", 1999.
A book review of Anne Rice's "Interview with the Vampire".
1,100 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
This is a book review and a character review of Anne Rice's "Interview with the Vampire". The author describes how Rice does not create "absolute" characters so they are not all good or all evil.
From the paper:
"A surefire classic has been produced by the esteemed novelist Anne Rice. This brilliant artist has created Interview With the Vampire, an eerie, "realistic" saga of the life of a vampire, narrated by the angelic demon himself. The themes and moods were recently captured on film, yet the book still captivates audiences with its versatility and forlorn expression. This piece of art does not only convince a reader of its realism, but it also defies the classic "good versus evil" theme."
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"Interview With a Vampire", 2002.
An analysis of the novel, "Interview With a Vampire" by Anne Rice.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper will discuss the book "Interview With a Vampire" (Anne Rice) and seek to analyze the moral goodness verses immortal evil, which exist in the text. By analyzing the main themes of what is considered evil in the work, we can better understand the moral implications that are obviously beneath the terror of evil that seduces Lestat into the worlds that he is drawn to.
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Anne Rice, "The Vampire Lestat", 1995.
Analyzes sexuality, beauty, irresistibility, spirituality and the social world of the novel's vampire protagonist.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"The vampire is a creature in folklore and fiction who has had a long life and whose appeal seems never to diminish. The best known vampire in literature is Dracula, from the novel of the same name written by Bram Stoker at the end of the nineteenth century. A more recent example is the vampire in a series of books by Anne Rice, and this character as well has proven quite popular since his debut in Interview with the Vampire in 1976. Using a more recent use of the character in The Vampire Lestat (1985), the second installment in the author's Chronicles of the Vampires, we can analyze the sexuality of this character, one of the important elements of its appeal, and their beauty and irresistibility as shown by Rice in the novel.
The vampire has always been a character who evokes a dual response in the reader, and the same response can be discerned in ..."
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Sex and the Single Bloodsucker, 1990.
An examination of vampirism and sexuality in the cinema.
2,800 words (approx. 11.2 pages), 21 sources, APA, $ 83.95
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An examination of the underlying theme of sexuality and sensuality in Vampire movies in American and European cinema. Looks at the historical use of vampires as well as how their portrayal has changed over the years. Older movies are compared to more modern ones. The paper also shows the different depiction of vampires in Hollywood films and in European films.
From the Paper
"It has often been stated that if horror films could be considered to have a reigning king, that position would without a doubt go to Count Dracula. While in recent years this position may have been challenged by a new succession of ax welding, hockey masked psychopaths among others, when the entire history is examined, the ?Prince of Darkness still reigns supreme. It is not surprising that vampires are such a popular source of modern entertainment; they have been in legends, folklore and myths for centuries (1). All that has really happened is that they have made the move to the most widely recognized form of story telling in our culture, cinema. If vampires as a whole entertainment then Bram Stoker?s ?fictional? creation Dracula, who serves as their self appointed monarch, is by far the most recognized and popular of the assemblage."
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Anne Rice: Searching, Seeking, Finding, 2005.
Examines the understanding of the characters in Anne Rice's "Interview with the Vampire" and "The Vampire Lestat".
2,758 words (approx. 11.0 pages), 2 sources, MLA, $ 82.95
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Abstract
In Anne's Rice's "Interview with the Vampire" and "The Vampire Lestat," the psychological self-examination and realizations of the characters contribute to an understanding of self in life and in death. The paper shows that the characters in both novels are perpetually asking questions of themselves and of others around them, desperately seeking the answers they yearn for. One of the main focuses of many of these characters is their morality in the decisions that they choose and are forced to make. The paper shows that closely following in the footsteps of the questions of morality is the quest for humanity. The vampiric characters in both novels are clearly not physically human any longer, but they strive to find and preserve the inner humanity. Finally, after finding the answers to their questions on morality and humanity, characters try to establish the place, if any, left to them in the mortal world.
From the Paper
"Louis asks himself if his "very nature is that of a devil" (Interview, p. 73), trying to determine once and for all whether he has a place in the world of men, or if he is simply too monstrous to continue to try to be a part of their world. Several of the characters from The Vampire Lestat also struggle with this concept. They avoid the public, and shun the symbols of God with a belief that they will harm them. They disregard the advice given to them by their old queen, who has told them many times that "there is nothing to fear in the sign of the Cross, nor the Holy Water, nor the Sacrament itself" (Vampire Lestat, p. 226), but they do not listen to her wisdom. They believe that by their very nature they have no place in the world of men, and must keep themselves segregated from it, even after Lestat proves the old queen right, and shows them they have nothing to fear from a church or anything it contains."
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