Mindi Roscoe

Vampires and the

media
Initial article of inspiration It will be over
by dawn September 2012 The vampires as
other in David Slades 30 days of night
Article summary
Debates the concept of foreignness
through the uses of the Vampires.
The article uses the film 30 Days of
Night and explores their meaning
to society and literature, such as
the change in the appearance or
characterisation of the vampire
throughout history. The focus is the
term otheness and how peoples
views on how they see the world
are shaped in the media, and
anything that threatens our ideals
or values of what is normal,
becomes the other and often
characterised in a way that is
negative or inhuman, which
effectively portrays otherness as
dangerous rather than strange.
Early Myths

One of the earliest myths of the vampire which began in the Mediterranean,
during the Greeks rule before the formation of the Roman empire. This was
started by one man named Ambrogio who was born and raised in where we
called modern day Italy. He travelled on an adventure which lead him to
Delphi to have his fate told by the oracle of Apollo. He was told by the Oracle
that he would be cursed and blessed by the Gods. By dawn he saw a
beautiful woman named Selene who was the Oracles sister and maid of the
temple, they soon fell in love and agreed go back to Italy together. Apollo
who was watching was enraged.
Apollo appeared to Ambrogio, and
cursed him for taking away a faithful
servant and a woman he had a liking
towards. He cursed him to intolerance
to his sun, which resulted in burning
skin whenever he touched the sun.
Ambrogio fled to Hades for
protection, and Hades took pity on
him and offered protection for him
and Selene if he stole Artemis bow,
and took his soul as insurance.
Tricking Artemis with an offering of a
swan, she came to him to thank him,
whilst he steals her bow and silver
arrows and runs for Hades, Artemis
cursed him so his skin would burn at
the touch of silver.
 He begged for forgiveness and told her of his
plight. Artemis took pity on him and
offered refuge for Selene and him, as long
as they do not touch, kiss or have children
as all of Artemis followers were chaste.
She gave him immortality and eternal
youth, and speed and strength to hunt
with. When it came for Selene to die as
she aged normally, Artemis gave Ambrogio
the chance to drink to her blood to kill her
mortal body, when their blood mixed
together Ambrogio was able to create
more immortals with his curses and
blessings. Selene became the Goddess of
midnight at the behest of Artemis and only
her light rays would touch Ambrogio
without burning him, together they raised
many of their newly formed children.
This myth became a basis for the modern
vampire in films.
Evolution of the
representation of
Vampire
Origins of the vampire in
literature and culture

The oldest depiction of vampires in literature is Bram Stokers

Dracula 1897 most famous portrayal of vampires in fictional
literature. He looked for inspiration in a real life figure called
Prince Vlad Tepes, a Romanian prince better known as Vlad
the Impaler for his preferred way of dispensing of his
enemies.

Born in 1431 BC, in the town that is now known as Transylvania

the central region from modern day Romania.

His characterisation is a distinctly western one, as hes often

depicted as a overly violent villain, who cruelly butchered his
own people and his enemies; however in Romania he is
viewed as a national hero who defended the empire from
Ottoman Turks, rather than a bloodthirsty monster, as many
historians will would portray him now.
 Nosferatu 1922
One of the first influential film to feature the vampire as a protagonist. This film
portrays the vampire (Count Orlok) in a sinister light, characterising it as a monster
that creeps through the night like a shadow. The silhouettes image of the Counts
shadow became an icon image that gave the vampire a demonic edge, as it was
portrayed as something otherworldly and dangerous. Thus adopting the original
portrayal of vampires of western myth. However, Nosferatu also was famous for
introducing the idea of vampires burning in the sun, as this did not conform to the
Bram Stokers description of vampires in Dracula.
 Blade 1998
During the 90s, as the film industry grew and changed, the face of the vampire
also dramatically changed. Compared to the early representation of vampires
in Nosferatu, the vampires became more beautiful and, fully embracing the
image of humans. In Blade however there are two types of vampires the
kind that is newly formed and assumes the image of a normal human and the
elders who are pale, monstrous creatures that can transform into beasts.
However, they retain many human characteristics and so behaved more
human than animal.
 Twilight 2008
Twilight became a hit with teenagers and had a huge cult following , mainly made
up of teenage girls. Since the 90s the representation of vampires in this film
series has completely moved away from what they were almost a hundred
years ago. These vampires are no longer flesh hungry monsters, but former
humans with very human feelings. They are beautiful, pale and mysterious
sparkly beings that can be integrated into society with humans.
 Vampires in
Literature
Vampire lore is one of the oldest existing myths in the world, with many
existing forms in all cultures. The use of vampire characters in
literature, was recognised as a way to convey the debate on issues of
sexuality and gender during the 1970s-80s, and possibly the symbol of
the vampire became the expression for controversial concepts such as
homosexuality and feminism.
In this context the vampire was a metaphor for the desire and fear of
growing sexual liberation amongst youth, mainly relating to
homosexuals and feminist of the time, and the consequences of this
freedom came from the fears in adults in the wake of the AIDS
epidemic.

 Comparison of Angela Carter and Anne Rice (two key

feminist writers) in literature and the representation of
vampires and feminism as a subversive potential of a
gothic representation of life experiences which question
and subverts, in their works, the patriarchal ideologies
about the issues of sexuality and gender. Males as the
dominating, violent controller of females, who are
victimised by their sexuality. In many fictional gothic
literature involving vampires, Bram Stokers Dracula
being the most famous in English literature, the vampire is
always seen as a male predator which finds their way to
the young female damsel in distress who often succumbs
to the vampires thirst for blood.
 Vampires have had a long standing association with the
enslavement or tainting of a young woman. For
example, during the early 18 th century through to
late 19th century, in Romania, women were accused
of being possessed by a vampire or a living vampire if
she resisted performing traditional female roles such
as looking after the family. As any other purpose for
women was unimaginable it was easier to blame this
phenomenon on vampires and oppress their woman
further. That is why we so often get portrayals of
female victims in literature and in films.