Abraham "Bram" Stoker (November 8, 1847 – April 20, 1912) was an Irish novelist and short story writer, best known today for his 1897 Gothic novel Dracula. During his lifetime, he was better known as personal assistant of actor Henry Irving and business manager of the Lyceum Theatre in London, which Irving owned.

I, Frankenstein ( Director: Stuart Beattie)

I, Frankenstein

Aaron Eckhart
Bill Nighy
Miranda Otto
Virginie Le Brun
Yvonne Strahovski

The demons and the gargoyles, obsessed with ruling over all of Earth, realize the key to winning the battle is immortality. Why can Adam Frankenstein not die? Could Frankenstein be the key?

Kristopher Broyles: Vampirism, and the Visual Medium: The Role of Gender within Pop Culture’s Latest Slew of Vampires

 Journal of Dracula Studies 12 (2010)

 [Kristopher Broyles recently graduated from             the University of Arkansas at Fort Smith        with a bachelor's in English. He intends to             pursue graduate study in the field of Communication, emphasizing film and             television, at the University of Arkansas in    the fall of 2010.]


            The resurgence of vampirism can be readily viewed within contemporary American media and culture. From a fanatical teenage obsession with the screen adaptations of author Stephanie Meyers’ Twilight saga to True Blood, a television series dealing with vampirism that is aimed at an adult audience, vampires are seeing a revival. By examining these visual works in combination with Joss Whedon’s Buffy the Vampire Slayer, a television series which helped set the stage for the critical analysis of feminism and vampirism within contemporary popular culture, I suggest that the role of the vampire in the visual medium is connected with societal views of gender.

Further, I contend that, because visual media such as film and television often reaches a larger audience than other forms of media, its impact may be more widespread. Therefore, there is a distinction made between the written works upon which Twilight and True Blood are based and their film and television adaptations. Also, the visual medium facilitates more passive learning than do other forms of media. Therefore, the impact of ideas about femininity and masculinity may be more passively learned, accepted, or integrated into society.

            Both femininity and masculinity are explored in each of the aforementioned works. Female and male characters are presented in a variety of ways; some are true to life, and some are very much skewed and unrealistic. Regardless of how these characters and concepts about gender are explored, there are certainly messages about gender included in or transmitted by the works Twilight, True Blood, and Buffy the Vampire Slayer.

Each of these texts present individual and varied views of femininity. While representation of the feminine seems to be largely positive within True Blood and Buffy the Vampire Slayer, the messages transmitted about femininity within Twilight seem to be quite narrow and underdeveloped, which can be seen specifically through an analysis of its main character, Bella Swan. However, Buffy the Vampire Slayer presents a clearly feminist title character, and “True Blood” explores femininity in both a compelling and complicated manner through a supporting female character, Tara Thornton, as well as through Sookie Stackhouse, its lead female character. While each of these texts present a different view of femininity, they effectively convey particular messages about gender, both positive and negative.



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