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.
Studii si Cercetari de Istoria Artei. Teatru, Muzica, Cinematogr;2011/2012, Vol. 5-6 Issue 49-50
* Lejla Panjeta, Ph.D., is an Associate
Professor at the International University of Sarajevo, Faculty of Arts and
Social Sciences, Visual Arts and Communication Design. E-mail
Abstract The worldwide popular series Twilight is
the mixed genre phenomenon in literature, media and cinema. After monstrous cinema interpretations
of vampires, Edward Cullen becomes a vampire that women fall in love with. Narrative draws on the
legend of vampires as well as on the fairy tales archetype of the love between The Lady and the
Beast. Sexual connotation in the stories of vampires are not new, but the global identification of
the audience with the main characters in the romantic- horror plot in this series needs to be analyzed
through the evolution of the vampire genre and psychology related issues. The popularity of
this series and blossoming hybrid genre is related to the artificial catharsis and fulfillment of the
market demand. Contemporary audience demands “to be special” and these profitable narratives are the
fulfilled promise to the audience. Keywords : vampire
legends, teen vampire genre, abstinence narrative, vampires in cinema,
INTRODUCTION: ROMANTIC MONSTER OXYMORON
“And so the lion fell in love with a lamb… What
a stupid lamb… What a sick, masochistic lion”. 1 One of the omens from the Book of Revelation that
the world as we know it will come to an end is described when the lamb lies down with the lion. The story of Twilight
categorized as teen vampire romance genre is the apocalypse of opposite genres: romance and
horror. The horror genre as we know it and the romance genre have reached the point where their elements need
to be combined together in order to survive the market demand of a consuming audience that desires more
catharsis induced by adrenalin and romance ecstasy. 2 Judging on the gained profit, this planetary
popular series is a phenomenon of the 21 st century.
Over 17 million copies of Twilight Saga have
been sold and translated into 37 languages. A graphic novel has been issued, and the first three books of the
series have been made into movies. According to the box office reports from the American and international
market, the movie Twilight 3 made
approximately 400 million dollars, 4 New
Moon5 over 700 million dollars,6 Eclipse7 700
million dollars,8 and Breaking Dawn I 9 over
700 million dollars. 10
1 Stephenie Meyer, Twilight,
Vol. 1, London:
Atom, 2006, p. 240. 2 On this matter, see also Lejla
Panjeta, “Popularni kinematografski vampirizam”, Hrvatski filmski ljetopis,
No. 69, 2012. 3 Director: Catherine Hardwicke.
Release year: 2008. 4 See “Box Office Mojo: Twilight”,
http://www.boxofficemojo.com/movies/?id=twilight08.htm; last consulted in
December 2011. 5 Director: Chris Weitz. Release year:
2009. 6 See “Box Office Mojo: New Moon”, at
<http://www.boxofficemojo.com/movies/?id=newmoon.htm>; last consulted in December 2011. 7 Director: David Slade. Release year:
2010. 8 See “Box Office Mojo: Eclipse”, at
<http://www.boxofficemojo.com/movies/?id=eclipse.htm>; last consulted in
December 2011. 9 Director: Bill Condon. Release year:
2011. 10 See “Box Office Mojo: Breaking
Dawn I”, at <http://boxofficemojo.com/movies/?id=breakingdawn.htm>; last
consulted in December 2011.
labels: scientific essays
Times have greatly changed: now even people of his rank may fall from grace. He looks at the peeling walls of the small apartment. From the former glory he only retains the titles, his foreign accent and his servant, faithful even though he has never taken a salary. He would cry. Not because of grief, but anger, this insolent world does not nourish respect for anything. Far from reverential fear of former times, they just reserve for him indifference and oblivion. He would cry, but "men never cry," use to say his father. And as he suspects, neither do the monsters. So he drinks to forget, rather than because of true gluttony. Life bores him: time is a prison for those who have nothing with which to fill it.
“Renfield”... he calls as he tends the luxurious goblet, a family keepsake.
The dense liquid leaves the body of the girl. He will take her back to the streets where he found her later, when she no longer has anything to offer. Homeless, drug addicts, prostitutes ... perfectly dispensable people. He realizes it is unwise to act in this way, but these times are not the times for squeamishness.
He thinks of his beloved Tokay and all reputed wines he enjoyed during that other warm life he barely remembers. Of all the things he will never taste again, wine is what he misses more. He would sell his soul in exchange for leaving the disgusting diet to which he is subjected. But he no longer has a soul to sell. More than five hundred years eating this rubbish, he tells himself unable to repress a grimace. While he observes mesmerized how, in the screen of a television almost as obsolete as he, a colorless woman uncorks a bottle. Everyone toast with unconscious enthusiasm to the new year.
“Enough?” asks his servant confused by the ambiguous expression.
“Yes, enough” he confirms absent. He knows what lies before him: only the red thirst, eternal. A tiny tear, a nearly imperceptible black drop, slides down his dry cheek..
labels: Vampires short stories
Do not stand at my grave and weep;
I am not there. I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning’s hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there. I did not die.