British Horror Cinema Fm2/b
DRACULA (The Horror Of Dracula) 1958
Director: Terence Fisher
Hammer Film Productions
NARRATIVE
Narrative: Linear, Single Stranded, Closed (Western Norm)
Shot of Dracula’s ashes shows that he is dead, ashes blow away, and the cross shaped burn on Mina’s
palm fades away in BCU (big close up) - These scene’s illustrate the closed narrative.
Todorov: two main characters, equilibrium established very quickly (establishing character) . No new
equilibrium established, because this is like a “bee movie” and is cut down, (is short- not rejecting
TODOROV)
Title sequence reminds us of gothic imagery. Shows us genres. Dracula's castle, black and red font,
and Dracula's coffin in traditional serif font.
1st shot after titles is of a coach and pair moving through wooded countryside, connoting the
beginning of something. We see it come from left to right (more comfortable screen direction, so we
are drawn with it.) At the start (voiceover) he said the coach driver would not take him further
suggesting that there is something bad about the place, or bad rumours.
First disruption: When he meets Dracula's girl “oh you will help me won’t you?” the girl has large
cleavage, on show. Jonathan Harker looks at it and says he’ll help. Eroticisation of evil. When Harker
writes in his diary/and in his personal monologue (non-diegetic sound) (that he wants to kill Dracula),
disruption is confirmed. The locked door is another step on the way. Harker shows surprise at the
locked door. He walks from left to right across to the door, and looks slightly surprised/disappointed
in it.
Causality: course of action
Harker Destroys D’s Woman D targets Lucy (as revenge on Harker) Lucy loves it (suggests sex),
and becomes a vampire Lucy is Destroyed by Van Helsing (but with Arthur in Tow) D targets Mina
(as revenge on Arthur)
Dracula is still sentient, shows human agency
Resolution: Destruction of Dracula.
Narrative Range:
Gothic horror tends to be more restricted than most horror, and it is typical of British Horror to be
more restricted than most horrors.
Unusually restrictive. We don’t know any more than Harker (less than him at the beginning) at the
start (totally restricted) , and after his demise, we don’t know much more than Van Helsing. This
was made just after the Film Noir period. Horror films do not normally have a restricted range, but
, open, so audience knows characters are in danger. There is a little opening up of narrative, but not
much. We see some of what Dracula does, not from Helsing's point of view.
What we do see:
We see some from Arthurs POV after he opens up a bit more.
We see Lucy being Fanged by D,
and Lucy’s 2nd walk with Tonya (Little girl) .
We see Mina's journey to the undertaker.
Maid takes out garlic flowers and opens windows, important, disobeying orders of more important
character. Working class = stupid
What we don’t see:
We don’t see Harker die, but it is implied.
We don’t see Lucy’s first instance of drawing Tonya out at Night
Mina being bitten/seduced by Dracula
Dracula's journey to the city ( Karlstadt??)
Dracula moving his coffin to Arthur and Nina’s house.
Iconography:
black and red font, old buildings, Victorian styles, gargoyles, darkness/nighttime,
monsters/demons/supernatural, hauntings, symbols of death, religious symbols, graveyards,
eroticisation of evil. Dramatic sound effects,
Music-instrumental and classical in style. This film is a gothic horror, which are usually set in the past.
Music is dramatic, and used at non diegetic sounds, in order to create fear.
Old gothic buildings- D’s castle, the undertakers, mausoleum,. Mediaeval weapons: décor interior
(eg. 18th century cannon outside)
Erotic imagery, large breasts on D’s girl. Played out as seduction when bitten, through performance.
Religious symbols: The cross is used, crucifix (cross necklace), The cross is weaponised, cross is used
as a symbol. Rosary (catholic)
Coffins: Specific to vampire films. Graveyards/burials- related to dead or the undead.
Use of red: Font, harkers diary, bright red blood, D’s cape lining
Framing in doorways/tight framing: trapping the viewer. (eg. When coming to Lucy, is framed in the
doorway with moonlight behind him.)
DRACULA (The Horror Of Dracula) 1958
Director: Terence Fisher
Hammer Film Productions
NARRATIVE
Narrative: Linear, Single Stranded, Closed (Western Norm)
Shot of Dracula’s ashes shows that he is dead, ashes blow away, and the cross shaped burn on Mina’s
palm fades away in BCU (big close up) - These scene’s illustrate the closed narrative.
Todorov: two main characters, equilibrium established very quickly (establishing character) . No new
equilibrium established, because this is like a “bee movie” and is cut down, (is short- not rejecting
TODOROV)
Title sequence reminds us of gothic imagery. Shows us genres. Dracula's castle, black and red font,
and Dracula's coffin in traditional serif font.
1st shot after titles is of a coach and pair moving through wooded countryside, connoting the
beginning of something. We see it come from left to right (more comfortable screen direction, so we
are drawn with it.) At the start (voiceover) he said the coach driver would not take him further
suggesting that there is something bad about the place, or bad rumours.
First disruption: When he meets Dracula's girl “oh you will help me won’t you?” the girl has large
cleavage, on show. Jonathan Harker looks at it and says he’ll help. Eroticisation of evil. When Harker
writes in his diary/and in his personal monologue (non-diegetic sound) (that he wants to kill Dracula),
disruption is confirmed. The locked door is another step on the way. Harker shows surprise at the
locked door. He walks from left to right across to the door, and looks slightly surprised/disappointed
in it.
Causality: course of action
Harker Destroys D’s Woman D targets Lucy (as revenge on Harker) Lucy loves it (suggests sex),
and becomes a vampire Lucy is Destroyed by Van Helsing (but with Arthur in Tow) D targets Mina
(as revenge on Arthur)
Dracula is still sentient, shows human agency
Resolution: Destruction of Dracula.
Narrative Range:
Gothic horror tends to be more restricted than most horror, and it is typical of British Horror to be
more restricted than most horrors.
Unusually restrictive. We don’t know any more than Harker (less than him at the beginning) at the
start (totally restricted) , and after his demise, we don’t know much more than Van Helsing. This
was made just after the Film Noir period. Horror films do not normally have a restricted range, but
, open, so audience knows characters are in danger. There is a little opening up of narrative, but not
much. We see some of what Dracula does, not from Helsing's point of view.
What we do see:
We see some from Arthurs POV after he opens up a bit more.
We see Lucy being Fanged by D,
and Lucy’s 2nd walk with Tonya (Little girl) .
We see Mina's journey to the undertaker.
Maid takes out garlic flowers and opens windows, important, disobeying orders of more important
character. Working class = stupid
What we don’t see:
We don’t see Harker die, but it is implied.
We don’t see Lucy’s first instance of drawing Tonya out at Night
Mina being bitten/seduced by Dracula
Dracula's journey to the city ( Karlstadt??)
Dracula moving his coffin to Arthur and Nina’s house.
Iconography:
black and red font, old buildings, Victorian styles, gargoyles, darkness/nighttime,
monsters/demons/supernatural, hauntings, symbols of death, religious symbols, graveyards,
eroticisation of evil. Dramatic sound effects,
Music-instrumental and classical in style. This film is a gothic horror, which are usually set in the past.
Music is dramatic, and used at non diegetic sounds, in order to create fear.
Old gothic buildings- D’s castle, the undertakers, mausoleum,. Mediaeval weapons: décor interior
(eg. 18th century cannon outside)
Erotic imagery, large breasts on D’s girl. Played out as seduction when bitten, through performance.
Religious symbols: The cross is used, crucifix (cross necklace), The cross is weaponised, cross is used
as a symbol. Rosary (catholic)
Coffins: Specific to vampire films. Graveyards/burials- related to dead or the undead.
Use of red: Font, harkers diary, bright red blood, D’s cape lining
Framing in doorways/tight framing: trapping the viewer. (eg. When coming to Lucy, is framed in the
doorway with moonlight behind him.)
