Publicação
One life born from the other : duas leituras sobre a figura de Dracula
| Resumo: | Created by Bram Stoker in 1897, Dracula has been the object of many reinterpretations, rewritings and reinventions for the most diverse modes. With a clear predisposition for adaptation, Dracula transcended the boundaries of the epistolary gothic novel responsible for his birth, gaining particular prominence in cinema. Oscillating between villain and hero, the symbol of immoral desire or condemned love, Dracula achieved greater dimension, and inevitably diverse meanings, on film. Since Coppola’s adaptation in 1992, in particular, that he has been associated with the theme of sexual desire and, at the same time, as the mysterious Other who is no longer the monster but the hero with whom the audience identifies itself. This reading is not new but it is pivotal, since it would be explored in future adaptations, especially in the case of the most recent TV series and film: BBC’s Dracula (2013) and Dracula Untold (2014), directed by Gary Shore. The aim of this essay is to explore these two versions of Dracula taking into account not only the themes previously mentioned, but also the specificities of medium and production time, and considering the use of the vampire figure as a metaphor for humanity |
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| Autores principais: | Duarte, José |
| Outros Autores: | Coelho, Ana Daniela |
| Assunto: | Dracula Love Hero Villain Cinema |
| Ano: | 2015 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso restrito |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | Created by Bram Stoker in 1897, Dracula has been the object of many reinterpretations, rewritings and reinventions for the most diverse modes. With a clear predisposition for adaptation, Dracula transcended the boundaries of the epistolary gothic novel responsible for his birth, gaining particular prominence in cinema. Oscillating between villain and hero, the symbol of immoral desire or condemned love, Dracula achieved greater dimension, and inevitably diverse meanings, on film. Since Coppola’s adaptation in 1992, in particular, that he has been associated with the theme of sexual desire and, at the same time, as the mysterious Other who is no longer the monster but the hero with whom the audience identifies itself. This reading is not new but it is pivotal, since it would be explored in future adaptations, especially in the case of the most recent TV series and film: BBC’s Dracula (2013) and Dracula Untold (2014), directed by Gary Shore. The aim of this essay is to explore these two versions of Dracula taking into account not only the themes previously mentioned, but also the specificities of medium and production time, and considering the use of the vampire figure as a metaphor for humanity |
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