The document traces the evolution of the vampire character from early films like Nosferatu in 1922 to more modern depictions. It begins with vampires being monstrous creatures but over time they take on more human qualities in their physical appearance and behaviors. By the 1990s shows like Buffy the Vampire Slayer, vampires could be protagonists or likeable antagonists, and relationships between humans and vampires were shown. More recent films like Underworld portray vampires as having family structures and human emotions like loneliness rather than just being monsters. The document argues that over the decades, vampires in film have become less monstrous and more human-like.
The document traces the evolution of the vampire character from early films like Nosferatu in 1922 to more modern depictions. It begins with vampires being monstrous creatures but over time they take on more human qualities in their physical appearance and behaviors. By the 1990s shows like Buffy the Vampire Slayer, vampires could be protagonists or likeable antagonists, and relationships between humans and vampires were shown. More recent films like Underworld portray vampires as having family structures and human emotions like loneliness rather than just being monsters. The document argues that over the decades, vampires in film have become less monstrous and more human-like.
The document traces the evolution of the vampire character from early films like Nosferatu in 1922 to more modern depictions. It begins with vampires being monstrous creatures but over time they take on more human qualities in their physical appearance and behaviors. By the 1990s shows like Buffy the Vampire Slayer, vampires could be protagonists or likeable antagonists, and relationships between humans and vampires were shown. More recent films like Underworld portray vampires as having family structures and human emotions like loneliness rather than just being monsters. The document argues that over the decades, vampires in film have become less monstrous and more human-like.
Humanity Nosferatu (1922) Earliest adaptation of Bram Stokers Dracula. Derived from Slavic nosufur-atu, or plague-carrier. Resembles more creature than human.
Dracula (1931) More human in appearance Dark, cobwebbed castle Awkward in speech and action Kills entire crew of ship in hunger Tries to steal Mina Hammer Films (50s & 60s) Rich color of blood made deaths of victims less clean and clinical More comparable to life appearance than previous Battle between Good and evil less black and white (distinct)
Although there are some basic changes, the depiction of Dracula is still very similar at this point. Dracula to Hammer: The Lost Boys Teen vampires appear to be human until a voluntary change occurs Although they appear human in many cases, the monster still lies below the surface. The Lost Boys The protagonist begins his transformation - sympathy The group has a family structure Half-vampires exhibit qualities that the later vampires will: human with a curse. Buffy the Vampire Slayer (1992) Vampires take a step back only creatures to be slayed
Protagonists immediately become antagonists when victimized Buffy: the Television Adaptation Blurred line between Good and Evil with invention of Angel Vampires became very human protagonists (Angel) and likeable antagonists (Spike) Romances between humans/vampires Vampire character is still visible as a sign of anger, fear, or evil
The beast is inside, often benign, unlike Dracula Interview with the Vampire Vampires do evil deeds by choice Main characters struggle against desires and needs Human qualities of isolation, loneliness Queen of the Damned Vampire protagonists Sacrifice of self for humans Loneliness and isolation Love for human innocence/life Underworld Vampires are a family Do not drink blood from humans manufactured Protagonist vampire breaks her own bonds to help a human Human/vampire romance Very Human in appearance Full Circle From the vampires sacrifice of the human for personal gain to the vampires sacrifice of self for human gain Vampires may not yet be our friends But they are no longer the monsters they once were.