Kiss Of a Vampire

    Cards (19)

    • Conventionally, the stars are listed with the more highly paid male actors first and in order of fame
    • Cultural context:
      The 1960s audience for this advert could be assumed to be familiar with the codes and conventions of ‘monster movie’ film posters –such as its composition, fonts and representations of ‘the monster’ and its (usually female) victims
    • Structuralism –Claude Lévi-Strauss
      The idea that texts are constructed through the use of binary oppositions could be applied to the opposing representations of the vampires and their victims, and the romantic connotations of “kiss” opposed in the film’s title to the stereotypical “vampire” monster.
    • Political and social contexts:
      • The 60s is seen as the start of women’s sexual liberation, the introduction of the contraceptive pill. More women than ever were entering the paid workforce and feminists wanted equal pay, and end to sexual harassment and equality in wider society. In America, equal pay legislation was passed in 1963.
      • ‘Older’ stereotypes of women as passive victims of men and more modern ‘male fears’ of women challenging male dominance could both be seen to be encoded in this film poster.
    • Stuart Hall’s theory of representation
      the 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.
    • David Gauntlett’s theory of identity
      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
    • Liesbet Van Zoonen’s feminist theory
      by assuming this ‘co-antagonist’ role, the female vampire is perhaps contributing to social change by representing women in non-traditional roles (1989) though the passive female victim does reinforce these
    • Semiotics –Roland Barthes
      • Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires (emphasized by the “kiss” of the title) and the fate of their two victims (Barthes’ Hermeneutic Code).
      • images of the bats and their conventional association with vampirism and horror in general
      • horror, darkness and fear are more widely reinforced through signifiers such as the moon and the male victim’s ‘submissive sacrifice’ gesture code.
      • The presence of the moon and the male victim's submissive sacrifice gesture code evoke a sense of horror and danger associated with vampire stories.
    • Representation of Women
      • Reflects the political/social contexts of the 60s by depicting women in both traditional and non-traditional roles.
      • The pale dresses made of light materials highlight the femininity of the women, while also revealing their bodies. One woman is portrayed as a stereotypical passive victim, emphasizing the power of the "monster."
      • The other woman, being bitten by a bat, displays more aggressive gesture codes, challenging the traditional gender roles
      • The gesture code of the woman on the left is that of the stereotypical passive victim of the ‘monster’, his power highlighted by the fact that he’s holding her by just one arm.
    • The title font
      The capitalized, serif font of the title creates connotations linked to the vampire film genre with its ‘wooden’ styling (vampire’s coffin or the stake needed to kill him) and the blood dripping from the letter V’s ‘fang.’ This adds to the overall atmospheric and dark tone of the poster
    • Representations of Men
      The male 'victim' in the poster is shown on his knees with his head back and throat exposed, representing him in a submissive pose. This contrasts with the typical portrayal of male dominance and power, challenging gender norms.
    • Release
      Kiss of the Vampire, which was released in 1963. This film was produced by Hammer Film Productions and distributed by J. Arthur Rank and Universal. It was intended to be the second sequel to the 1958 film Dracula, although it does not directly reference the character from Bram Stoker's novel.
    • Genre
      Kiss of the Vampire belongs to the genre of "monster movies" that were popular during 1960s. Hammer Film Productions had already achieved success with other monster movie franchises like The Mummy and Frankenstein. This film was released during the "swinging sixties," characterized by cultural shifts and events like the rise of the Beatles and assassination of JFK.
    • Genre- colour
      The colour scheme of the poster predominantly consists of dark and intense hues like black, red, and purple. These are commonly associated with horror and create a sense of mystery, fear, and suspense. The use of red, in the dripping blood, symbolises violence and danger, emphasising the horror genre of the film.
    • Romantic "Kiss" vs. Stereotypical "Vampire"
      The title, "Kiss of the Vampire," juxtaposes the romantic connotations of a kiss with the stereotypical image of a monstrous vampire. This binary opposition creates intrigue and suspense, it raises questions about the nature of the relationship between the vampires and their victims.
    • Vampires vs. Victims
      The vampires are often associated with fear, and horror, while the victims represent vulnerability and submission. This binary opposition highlights the power dynamics between the 2 groups in the film.
    • Representation of Women (not stereotypical)
      • Baring her teeth and with her arm raised fist-like as she’s being bitten by the bat, the 2nd woman’s gesture codes are more aggressive, and the submissive pose of her male ‘victim’ (on his knees with his head back, throat exposed) represent her in a non-stereotypically dominant way.
      • The vampire himself seems uncharacteristically fearful in his with his arm thrown across his body in a defensive gesture, perhaps protecting himself from the female vampire.
    • ‘Painted’ main image
      Highly conventional of films of the period and links to the poster for Christopher Lee’s Dracula, but the fact that it’s in color (anchored by the text “In Eastman Color”) connotes that this is a modern telling of an older story.
    • Production & Distribution
      • Produced by Hammer Film Productions
      • Distributed by J. Arthur Rank and Universal
      • 1963