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Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA

100%

Barrenechea A.

2020

tom 13

nr 1

259-277

My essay explores the vampire cinema of Hollywood and Mexico. In particular, I trace the relationship between Universal Pictures as the progenitor of horror during the Great Depression and Cinematográfica ABSA's "mexploitation" practices. The latter resulted in the first vampire film in Latin America--"El vampiro" (1957). Rather than strengthening separatist national cinemas, the unintended consequences of genre film production make this a case of inter-American scope.

Czy hrabia Dracula to homo sapiens? Wampiry i wampiryzm w perspektywie nie tylko literaturoznawczej

100%

Gieba K.

nr 2(57)

149-155

Review: Krystian Saja, "Wampir w świecie antropii. Kognitywizm subsymboliczny w literaturoznawstwie", Kraków: Wydawnictwo Nomos 2017, ISBN 978-83-7688-320-5

Z Transylwanii do Hollywood i nieśmiertelności. Przypadek Beli Lugosiego

86%

Kocot-Wierska A.

nr 6 (15)

213-225

The aim of the article is to present the film career of a famous actor Bela Lugosi (1882–1956) and its most important turning points. Born as Béla Ferenc Dezső Blaskó in Austria-Hungary Lugosi was one of the most important stars of „The Golden Age” of Hollywood horror film in the 1930s but soon after his huge success in a role of Dracula in Tod Browning’s film he had to cope with a career breakdown. Horror as a genre and its changes during the 1930s, the 1940s and the 1950s and the myth of Dracula-Lugosi are the main frames of the article. The author describes also his significant place in popular culture and asks about his hypothetical presence in the notable horror film movements that reached popularity just after Lugosi’s death.

Filmowe adaptacje "Draculi" Brama Stokera. Od Murnaua do Coppoli

86%

Rawski J.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

2013

nr 5

251-262

Bram Stoker’s "Dracula" (1897) is the most important and most renowned vampire novel, which inspired entire generations of filmmakers. The vampiric count, “with figure of eternal desire – and what’s more, both male and female, homo- and heterosexual” (to quote Maria Janion), had an influence on mass imagination of readers and spectators. In the twentieth century, Friedrich Wilhelm Murnau, Tod Browning, Werner Herzog and Francis Ford Coppola created the most important film adaptations of the Irish writer’s novel. By analyzing these four cinematic images, we can see the evolution of the vampire: how human features were attributed to him and how his sexualization proceeded (particularly in the F.F. Coppola’s movie). Four movie interpretations of Dracula’s character – vampire-monster, vampire-dandy, suffering vampire, vampire-tragic lover – were far from the actual image of the title character from Bram Stoker’s work. There are clear differences between the hero of the novel and his movie equivalents.

Ojczyzna i siedziba Drakuli, czyli złe miejsce w Europie

58%

Pająk P.

nr 4(7)

239-261

Bram Stoker’s Dracula is the most famous example of a successful symbiosis between Gothicism and balkanism. With this symbiosis, Irish author refreshes and popularizes the vampire myth and enriches it with the myth of Transylvania as a homeland of vampirism. Stoker tries to make the image of Transylvania as authentic as possible, but at the same time, he mystifies some facts. He creates Transylvania in accordance with balkanistic stereotype as a beautiful, but backward land. European culture is mingled there with the oriental culture. Count Dracula’s vampirism is a horrible effect of this cultural hybridization. According to psychoanalytic interpretation, the castle o fa vampire symbolizes the unconsciousness of Westerners, and the vampire is their double. Dracula embodies their repressed ideas related to the desire of absolute power which enables to satisfy the instincts freely. The balkanistic context of psychoanalytic interpretation of Dracula’s castle allows the extension of this interpretation to the entire Transylvania, which in Stoker’s novel is a metonymy of the Balkans and Eastern Europe. This region of Europe was in the 19th century regarded in the West as the boundary between Europe and Asia, and it serves as a locus horridus, that is to say, a bad place which is a reservoir of culturally forbidden desires that Westerners repress by attributing them to the Eastern European culture.

Drakule - mroczne osobliwosci

36%

Trela A.

nr 4

26-27