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Hall’s theory of representation can also be applied. Images of a castle, bats, the vampire’s cape and dripping blood form part of the ‘shared conceptual road map’ that give meaning to the ‘world’ of the poster. The audience is actively encouraged to decode this familiar generic iconography.
Gesture of male vampire (hand clasping waist) could be symbolic of sexual assault. Ye the male vampire's face is scared and confused, constructing a powerful hermeneutic code for the target audience Dr Ravna (Noel Willman) works his magic on Marianne (Jennifer Daniel) and Gerald (Edward de Souza) in The Kiss of the Vampire (Hammer 1964)
Kiss Of The Vampire
Kiss of the Vampire (also known as Kiss of Evil on American television) is a 1963 British vampire film made by the film studio Hammer Film Productions. The film was directed by Don Sharp and was written by producer Anthony Hinds, credited under his writing pseudonym John Elder. Without the fearful presences of Peter Cushing or Christopher Lee, Hammer tried once again to make a vampire film, but without the count and even though The Kiss of the Vampire is not a gore fest, it still manages to convey some of the gothic horror that the studio became famous for. Additionally, even though unconscious, she is thrusting her exposed cleavage forward, a clear example of sexualisation. Women are often sexualised in media products for financial purposes, as this allows the product to target heterosexual male audiences
Kiss of the Vampire has a relatively good script, some very lush sets, a moving score composed by James Bernard, and some excellent acting; all in all this is an interesting film that shows the studio at its best, even without all of the familiar suspects. The setting of the image uses low key colours, and the MES of the women's costumes contrasts highly with this, presenting a pleasing binary opposition to the target audience. x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry. Victim woman is draped unconscious in the arms of the antagonist which constructs him as both stronger and more masculine, which reinforces a stereotypical 1960's stereotype of the roles of men and women
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The use of a ‘painted’ main image is highly conventional of films of the period and links to the poster for Christopher Lee’s Dracula, but the fact that it’s in colour (anchored by the text “In Eastman Color”) connotes that this is a modern telling of an older story. The Symbolic Codes (Barthes) of horror, darkness and fear are more widely reinforced through signifiers such as the moon and the male victim’s ‘submissive sacrifice’ gesture code The capitalised, serif font of the title creates connotations linked to the vampire film genre with its ‘wooden’ styling (referencing the vampire’s coffin or the stake needed to kill him perhaps) and the blood dripping from the letter V’s ‘fang.’- vampire iconography. What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd." [2] It was Sharp's first movie for Hammer. He went on to make several more films for the company. [1] Plot [ edit ]
Serif font of the title is in the style of a wooden stake, a paradigmatic convention of the vampire genre. Additionally, the MES of of the stake functions as a proairetic code Kiss of Evil". Rotten Tomatoes. Archived from the original on 10 October 2021 . Retrieved 29 November 2021.Frequent use of the colour red, which functions as a symbolic code for blood, death, and, polysemic, love, romance, and sex White color of title is used to contrast darkness of main image. May potentially link to innocence of victims. Stuart Hall argues that stereotypes are a primary means of reinforcing wider social power. The Kiss of the Vampire poster, likewise, deploy a number of gender-based stereotypes that arguably help to reinforce a passive and objectified representation of women - a representation that clearly prevents female social empowerment. In North America, the film was released on 6 September 2005 along with seven other Hammer horror films ( The Brides of Dracula, Nightmare, The Evil of Frankenstein, The Curse of the Werewolf, Paranoiac, Night Creatures, The Phantom of the Opera) on the four- DVD set The Hammer Horror Series (ASIN: B0009X770O), which is part of MCA-Universal's Franchise Collection. This set was re-released on Blu-ray on 13 September 2016. In July 2020, Scream Factory released the film with a collector's edition Blu-ray that included both 1.85:1 and 1.66:1 aspect ratios as well as the TV version Kiss of Evil in standard definition. [10] Bibliography [ edit ] perhaps the female vampire acts as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment.
Male vampire looks uncharacteristically fearful in the picture as his arm is across his body as a possible form of defense. Originally intended by the studio as a Dracula film, the count's name is never mentioned in this film. The young couple (Edward De Souza, Jennifer Daniel) have much of the screen time and are both pretty bland as performers. De Souza's character is a bit of a dope (at least to experienced horror fans who can well see ahead in the story as to what is about to happen to them) while Daniel adequately serves her role's requirements by being young and attractive. Let's face it, folks, the cult of vampires don't want her attendance at the party because of her conversational ability. Films represent social fears as male vampire character looks scared and women has power over man on right. Through facial expression and body language she looks more powerful and aggressive. This could reflect male concerns at the time that the role of women was changing significantly and this could be a threat the the status-quo of a male dominated world.
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Originally intended to be the third movie in Hammer's Dracula series (which began with 1958's Dracula with Christopher Lee and Peter Cushing, and was followed by 1960's The Brides of Dracula with Cushing alone), it was another attempt by Hammer to make a Dracula sequel without Christopher Lee. The final script by Anthony Hinds makes no reference to Dracula and expands on the directions taken in Brides by portraying vampirism as a social disease afflicting those who choose a decadent lifestyle.
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