“The main difference in the evolution, is you will, of the characters from the originals, in my opinion, is the addition of an object, of not just desire-for blood or some kind of sexual fulfillment-but love, or at least some kind of emotional attachment(depending on one's own interpretation).”
“vampire in to a tragic hero.”
It portrayed vampirism as a disease with its undertones of sex, blood and death.
Vampire fiction is still inspired by the story of Dracula but it has evolved over the years from an embodiment of evil to being portrayed as a more romantic and tragic character. It has become a mixed genre containing elements of romance, parody and in some cases even comedy.
Although vampires are generally associated with the horror genre, vampire films may also fall into the science fiction, romance, comedy or fantasy genres, among others.
The Addiction (1995) A philosophical variant on the vampire film, that uses vampirism as a metaphor for AIDS and ends with a notorious and highly sexually charged orgy of blood-sucking.
Lestat, again like all vampire figures, is also symbolic of unlimited desire and he breaks all taboos and blurs boundaries in pursuit of his desires
The making of another vampire also involves the mutual exchange of body fluids but in this case blood. Therefore, vampires represent unlimited sexual freedom, there is no fear of disease or pregnancy since they are dead. They can have safe sex anytime without guilt or repercussions and this is appealing in itself, even more so considering sex can be quite dangerous in a post-AIDS era.
Dr Sam George, a lecturer in English literature at Hertfordshire
George expects the course to become an annual staple that will outlast the current TV craze for all things vamp, because "vampires themselves change so much, and reflect contemporary society". She says today's vampires are glamorous and sexy, and have an emotional side.
"Vampires used to be rooted in the past, representing something primitive; now they are about modern culture, living in cities, listening to punk music, embracing technology. Some are even female, and vegetarian."
George claims that change reflects the fact that vampire stories mirror the anxieties embedded in modern-day culture. "Vampires teach us to come to terms with our desires and the fact we have a darker side," she says. "In the 1980s, a lot of vampire films and books tackled disease and corruption – it was a way of talking about Aids. Vampires are used to bring up things we don't want to talk about."
The topic du jour of our modern vampires, is, George believes, the sexualisation of teens.
New vampire stories represent a sexual awakening. Our modern vampires are a metaphor for teenagers' wider anxieties about their bodies and their first stirrings of desire. They provide a safe way to acknowledge these desires."
George claims that vampire fiction also tackles fears of technology. "Science is starting to let us think seriously about living a lot longer, and that's fascinating in the vampire context, since they obviously live for eternity," she says. "Current vampires – like the eternally teenage Edward of Twilight – reflect the scientific debate about preserving youth and living forever." George adds that it's no surprise that vampires tend to become prominent during times of social change – like last year's recession – because "they are escapist and let you think about society in a very different setting.
The books are based on the vampire myth, but Twilight vampires differ in a number of particulars from the general vampire lore. For instance, Twilight vampires have strong piercing teeth rather than fangs; they glitter in sunlight rather than burn; and they can drink animal as well as human blood
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