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The gothic elements of dracula bram stoker
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The central idea of this excerpt from Dracula was the fear of the prisoner living in the castle of Count Dracula who felt trapped and alone. The authors use of first person point of view of the prisoner was able to develop this central idea of fear because prisoner was able to describe his feelings first hand living in the castle with the Count as well as emphasize the thoughts that were scattered inside of his head during this time. An example of the author using first person point of view to help develop the central idea of fear was when the prisoner had realized that he was helpless in the situation of his current living conditions. The prisoner said "I think I must have been mad for the time, for I have behaved much as a rat does in a trap" (lines 4-5).
While both films are considered to be the best of Buster Keaton’s body of work in the silent film genre. The General and Steamboat Bill Jr. have slight contrasts in their lighting. The cameras themselves, as well as the techniques and lighting effects, show the small gap in time between their release dates. Considering the films short span of time between the films’ respective completions, it comes as no surprise to find miniscule variance in the use of color, hard key lighting, and diffusion despite the fact the films treat the same subject.
‘Edward Scissorshands,1990’ directed by Tim Burton, explores the concept of the outsider and how they fit into society. ‘Frankenstein, 1818’ by Mary Shelley also refers to this gothic convention
Renfield in Dracula Renfield is a common character of interest in Dracula as he has a creepy yet fascinating personality. Renfield is viewed as a madman or insane for having a strange obsession with becoming immortal and vampirism. Although we may view Reinfield as “evil” we don’t have a whole lot of information to back this statement as we only really see him through Dr. Seward's journal entries. Renfield believed that consuming living things such as spiders, birds, and rats, would grant him everlasting life by “absorbing its power”.
Bram Stoker, describes one of the verbal taboos of the Victorian era, violence, through the representation of vampires as “monsters” through the point of view of their victims in his novel Dracula. Stoker portrays violence in three distinct categories- physical, visual and psychological. Each one of these categories is described by one of the antagonists in the Novel, with Count Dracula as the physical aspect of violence, his underlings, the female vampires as the visual and Renfield, the patient at Dr. Seward’s mental asylum, as the psychological aspect of violence. This essay looks at the portrayal of such Categorical violence as different renditions of a “monster” and considers why Stoker would segregate violence in such a manner.
"Looking At The Monster: Frankenstein And Film." Critical Inquiry 24.1 (1997): 133. Academic Search Complete. Web. 20 Apr. 2016.
You might expect Frankenstein, Dracula or Wolfman as the earliest horror movies, but the truth is nothing that creepy as Nosferatu: A Symphony of Horror was ever made before. Dating back to 1922, this movie reflects the bleak and frightening interwar years in Germany. Featuring a vampire called Count Orlok with the unforgettable Max Schreck, who was so tall, that in one scene he barely fits through a doorway. In order to maximize the rhetorical effect of mystery or uncanny – Murnau, in particular, is focusing at the lifeless becoming alive or the dead claiming life, as in the sequence of the vampire coming out of the shadow and slowly filling the screen with its horrific glance. (Lucchese, 2014).
In Stoker’s novel Dracula, Renfield is a patient in Dr. Seward’s mental asylum who has a desire to gain the life of small, living organisms (e.g., flies, spiders, and rats) by consuming their souls. Although the purpose of Renfield’s character may be considered irrelevant to the central plot of Dracula, it is of utmost significance. To elaborate, the Renfield sub-plot functions as an “abstract representation for a better understanding” and in-depth knowledge to the character of Count Dracula through Renfield’s actions (Dracula). According to Gray, the character of Renfield “parallels aspects of Dracula 's livelihood,” such as his need to consume life. The dark relationship that Renfield and Dracula share is evident in the scene when Renfield
Citing the article of Tudor's idea and concept the paranoid, pressure of horror films has been increased day by day and they have noted all the matters step by step. In some cases, horror is rooted in a rapidly changing situation yet with the unreliable world (Radner, 2003). If in this situation we try to understand the appeal of Horror then at first we will have to move through gratification where the horror movie’s presence in harbored repressions and space for fundamental bestial demands. Simply it can be told that it has become a place for repressed desires.
In the novel Dracula by Bram Stoker, there are several different characters who demonstrate heroism by acting selflessly. Gender roles play a significant part in developing the alliance of people whose goal is to defeat Dracula. All of the heroes recognized by the audience are masculine, but not all of the heroes are considered protagonists by the audience. Because several different characters act selflessly throughout the novel, it clear that a group of men form as “the embodying archetype of the hero,” (“Archetype of the Hero”).
Many of the events of Bram Stoker's life are still a mystery and are open to speculation. Stoker has long remained one of the least known authors of one of the best known books ever written. Bram Stoker was born in Dublin, Ireland, on November 8, 1847, the third son of seven children with 4 brothers and 2 sisters (Senf, Carol A. "Historical Context."1). Sick as a child, Stoker eventually grew to well over six feet in height and became athletic and muscular, with a head of thick, red hair. Stoker was a man of considerable energy and talent .
But Eisner in her particular rereading of German Expressionism stresses not only lighting, the famous clair-obscur as the epitome of its stylistic definition. In this redesign of the DVD cover, I chose to demonstrate this lighting technique in three ways: the contrast of white text on a black wallpaper, the stark contrast in the spiral stairs on the front, and the partial covering of Stephen Neal’s face in shadow compared to the fully illuminated face of Carla Hilfe on the back image. The other key element of film noir featured throughout this film and in the DVD cover is the use of psychological instability to create a sense of tension and fear.
Another artwork that surely makes people shudder is the “Burial of Punchinello” by Giovanni Domenico Tiepolo. In general, Punchinello is like an Italian version of a clown and “appearing in puppet shows, and cavorting in the annual Carnival” . In “Burial of Punchinello” there are few Punchinello with the mask and tall hat carrying a dead Punchinello into a hole in the ground. The appearances of Punchinello just pushes a person fear more because of the masks and tall hat that relatively making the character far from reality and almost transforming like a monstrous creature that freaks people out. The idea of burial is another factors really gives the audiences chills because burial is an ideal of funereal which are often hidden and not something
TITLE The horror and mysteries that surround modern culture today through literature, films, and holidays can almost always be attributed to Bram Stoker. Stoker’s most famous novel Dracula focused on the dark side of human nature, realism, and female sexuality that was unheard of during the Victorian Era. Dracula was critiqued and over analyzed by many for the controversial topics that laid in his text.
Silent movies were almost always accompanied by music, from a multipieced pit orchestra to a single piano or even a guitar. This is why silent film audiences seemed perfectly happy with silent movies. There was also technological difficulty of matching sound with visuals so that everyone in the audience could hear. The problems were synchronisation and amplification. A vitaphone was something that produced the first commercially viable sound system.
