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The success of recent series such as The Twilight Saga (2009, 2010, 2011, 2012), The Vampire Diaries (2009 - ) and True Blood (2008 - ) has popularised the idea of vampires who cling to remnants of their humanity (or memories of what it means to be human) and attempt to live as human, which builds upon similar – albeit embryonic – themes which emerged from the vampire sub-genre in the 1990s. Now, the vampire on our screen such as True Blood’s Bill Compton, or Twilight’s Edward Cullen, passes as human, chooses to make morally sound decisions, becomes an upstanding assimilated citizen, works in the community, and aspires to be a husband to mortal women. No longer is the vampire portrayed simply as a monster or representation of death. The representation of vampires in horror movies and television programmes has changed considerably over the last two decades. Key words: Vampire, transnationalism, popular culture, American films, horror. Therefore, the writer of the paper finds that the representation of vampire in the 21st American films, as a product of transnational popular culture, still strongly relates to Europe, but there are some variations influenced by the spirit freedom in American culture. To analyze the representation of vampire as a product of transnationalism, the writer of the paper uses library and online research dealing with vampire, american films, and popular culture to obtain a comprehensive understanding. One of the most successful vampire movies is Twilight Saga (2009-2012) based on Stephenie Mayer novel, an American novelist who successfully presents vampire as both romantic and threatening monsters. In the 21st century Hollywood cinema, the emergence of vampire movies still becomes the main focus of the stories. Elizabeth Tilley states that Bram Stoker is considered as a part of Anglo-Irish late Victorian Gothic writers who concern on fascination with the occult, terror on the psyche, repression, and monsters. Secrets of the lost tomb lycanthropy movie#Dracula (1931), directed by Todd Browning, is the first vampire Hollywood movie based on Bram Stoker novel Dracula (1897). As a result, vampire’s legend which is famous in the Eastern Europe is taken into a part of American horror monsters. Moreover, as a nation built by immigrants, the immigrants’ culture, urban legend, and believe have influenced American culture significantly. American horror films as product of popular culture need to determine what monsters that could represent American culture. In the development of American horror films, the monster’s presence strongly relates to urban legends, and it is emphasized by Noel Carroll, as the writer of Philosophy of Horror, who argues that one of horror film main characters is the monster’s presence. ![]() This paper endeavors to analyze the representation of vampire as a popular culture product of transnationalism in American horror films. Therefore, the emergence of horror movies and the monsters are quite predictable although they have various features in every new movies because the influence of Enlightenment which gives space to the new movies to explore the more possibilities in creating horror creatures and stories. ![]() ![]() Together with horror movies, vampires and werewolves have recognizable pattern since the horror movies have deep structure of narration and those monsters have characteristic features as fantastic horror creature. Vampires and werewolves emerge as fantastic horror creatures that have special relationship. Secrets of the lost tomb lycanthropy how to#Horror movies in the first decade of 21st century are selected based on the appearance of vampires and werewolves together in the movies and the main focus of the stories which must be about the monsters and how to solve their threats. In the Forest of Villefére (Robert E.This study analyzes the relationship between the emergence of horror movies and the monsters especially vampires and werewolves with the existence of urban legends or stories which relate to those monsters. The Man-Wolf (ÉmileErckmann&AlexandreChatrian) The Lay of the Were-Wolf (Marie de France) Isle of the Undead (Lloyd Arthur Eshbach) The House of the Vampire (George Sylvester Viereck)ĭoom of the House of Duryea (Earl Peirce) The Vampire of Croglin Grange (Augustus Hare)Īylmer Vance and the Vampire (Alice and Claude Askew) Varney the Vampire, or, the Feast of Blood (Thomas PeckettPrest and James Malcolm Rymer) Vikram and the Vampire (Sir Richard Francis Burton) e-artnow presents to you a selection of the greatest horror classics, a collection like no other, to make your hair rise in fear and anticipation. The werewolves sink their teeth into the soft flesh. The vampires come out at night to snatch innocent passerby for hearty meals. The beasts prowl in the dark alleys to prey on their suspicious victims. ![]()
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