Friedrich-Alexander-Universität Erlangen-Nürnberg

Institut für Anglistik und Amerikanistik

Wintersemester 2013/2014
Dozent: Dr. Christian Krug
PS Viktorianismus Literatur- und Kulturwissenschaftlich

The Representation of Dracula’s Otherness in Coppola’s

Bram Stoker’s Dracula

Studentin: Anna Heimhardt

Straße: Flößaustraße 23
Wohnort: 90763 Fürth
E-Mail-Adresse: anna.heimhardt@online.de
Matrikelnummer: 21647762
Studiengang: LA Gymnasium, Germanistik/Anglistik, 5. Fachsemester
Abgabedatum: 15.03.1014
Table of Contents

1. Introduction… 1

2. Otherness… 2

2.1 Definition… 2
2.2 Dracula as Invasive, Degenerate Other… 2
2.3 Dracula as Oriental and Invading Other… 4

3. Representation of Otherness in Coppola’s Movie Bram Stoker’s Dracula… 6

3.1 Harker and Count Dracula: The First Encounter… 6

3.2 Dracula’s Otherness in the Rest of the Movie… 9

4. Conclusion… 10

5. Bibliography… 12
1. Introduction

Bram Stoker’s Dracula is one of the most influential Gothic texts of the nineteenth
century. An uncountable number of Dracula films arose because of this epistolary
Gothic novel published in 1897. Because the vampire image is continually reborn to
adapt the concerns as well as the desires and tensions of various periods, the Count’s
popularity survived through the ages. The parasitical monster which creeps in
English Victorian society constitutes a threat of moral as well as racial degeneracy
which is elucidated by its ‘multiple otherness’.
In my work I would like to concentrate on Francis Ford Coppola’s movie Bram
Stoker’s Dracula, which was published in 1992. I want to find out by what means
Coppola constructs Dracula’s otherness by having a close look on the scene where
Jonathan Harker meets Dracula for the first time in his castle in Transylvania, using
the close reading technique. I chose this scene because of the juxtaposition of East
and West and because of the physical appearance of Dracula, which represents two
theories concerning otherness which I will define more clearly subsequently.
Afterwards I will have a more general look on the movie and will pick out the
moments in which Dracula’s otherness is distinct.
This is academically interesting, because there are different theoretical perspectives
on Dracula’s otherness. Contemporary literary theories like Psychoanalysis, Gender
Studies, Postcolonial Studies and even the obsolete pseudo-science criminal
anthropology, – which has its origin and was taken seriously in Victorian England
(Tomaszewska, p. 1) – all of them have a specific notion of the term. Within the
framework of my seminar paper I will begin with a short, general definition of
otherness as it can be found in the New Oxford Dictionary of English and then
concentrate on the meaning of otherness for Postcolonial Studies, with a special
focus on Said’s studies concerning Orientalism1, because Said identified a range of
various techniques for the exposition of the orient (Lubrich, 365) which is important
for the visualization of Dracula in Coppola’s movie. Furthermore I will give a short
introduction to Cesare Lombroso’s Degeneration Theory because it influenced
Stoker’s writings and contributed to the invention of Dracula’s physical appearance
which also plays an important role in the beginning of the film. I doubt that Dracula

1
In his study Orientalism, Said identifies a row of different techniques that are used
to depict the Orient.
1
represents – especially in Coppola’s movie – otherness across-the-board, which
means physically, culturally, socially and emotionally. This is also going to be
analysed in this work.

2. Otherness
2.1 Definition

The New Oxford Dictionary of English defines otherness as “the quality or fact of
being different”. According to the website academic.brooklyn.cuny.edu, the Other
is an individual who is perceived by the group as not belonging. Through this
definition every stranger becomes the Other. Perceived as lacking essential
characteristics, it is nearly always seen as an inferior being and is most of the time
treated accordingly. The Other in a society may have few or no legal rights, may be
characterized as less intelligent or as immoral and may be even regarded as
subhuman. Accordingly, otherness can take many forms. This means that the other
may be someone who is of a different race, a different nationality, a different
religion, a different social class, a different political ideology, a different sexual
orientation or a different origin. As mentioned before, relating to various literary
critics, Dracula represents diverse kinds of otherness, is even the symbol for
otherness in Stoker’s novel.
“In the context of this novel, Dracula is otherness itself, a distilled version of all
others produced by and within fictional texts, sexual science, and psychopathology.
He is a monster and a man, feminine and powerful, parasitical and wealthy; he is
repulsive and fascinating, he exerts the consummate gaze but is scrutinized in all
things, he lives forever but can be killed. Dracula is indeed not simply a monster,
but a technology of monstrosity” (Judith Halberstam, qtd by Dennison, 85).
Dennison encourages Judith Halberstam’s opinion that Dracula is capable of various
identities of otherness. Contemporary literary critics “identify him as capitalist, Jew,
Oriental cosmopolitan, ancient regime feudalist and homosexual” (Dennison, 85).

2.2 Dracula as the Invasive Degenerate Other

The late nineteenth century Victorian England was regarded as the highest point of
civilization, since the “industrial technology and the power of science appeared to

2
offer a thoroughgoing conquest of nature” (Bignell, 115). After all, such self-
confidence entailed the anxiety of the majority of Victorian society that it could
sustain a relapse into a savage past and lose its moral system. This fear of atavism2
led to the “sense that the entire nation – as a race of people, as political and imperial
force – was in irretrievable decline” (Arata, 622 qtd in Tomaszewska, 1). In order to
alleviate the social discomfort, influential criminal anthropologists or degeneration
psychatrists like Cesare Lombroso were searching for a scapegoat figure on which
they could project this anxiety: the degenerate3 (Tomaszewska, 1).
In his works, Lombroso emphasized that habitual criminals and ‘moral lunatics’
constituted the worst danger for a progressive and healthy society because they
would hinder the development of western civilization. Consequently he began to
create a list which contained physical atavistic features, so that people could identify
the degenerate easily. This threatening degenerate was generally identified as the
racial other, the alien invader who disrupts the domestic order and devitalizes the
host race by turning its members into the parasitical race he originates from
(Tomaszewska, 3).
Reading Bram Stoker’s novel Dracula, it becomes clear that Lombroso’s pseudo-
science influenced Stoker’s writing. He was well informed about degeneration
theory and incorporated its principles into his novel, with special focus on the
aspects concerning race. One can see this in a section of the book, where Van
Helsing explains Dracula’s true nature, using Lombroso’s perception of the criminal
who owns a backward brain: “The criminal has not full man brain.”(Stoker, 343).
Mina responds to his speech, concluding:” The count is criminal and of criminal
type. Nordau and Lombroso would so classify him, and qua criminal he is of
imperfectly formed mind” (Stoker, 343). This direct reference within the novel
shows that Stoker consciously designed his vampire after the atavistic features that
Lombroso and Nordau had invented, “it is easy to indicate parallels between
Lombroso’s degenerate and Stoker’s count” (Tomaszeska, 2).
The specific features that are ascribed to degenerates by Lombroso are an abundance
of hair which is spread over the body like bestial fur, ears which are extremely
pointed at the top, which is, according to Lombroso, “a relic of the pointed ear
characteristic of apes” (Fontana, 161, qtd in Tomaszewska, 2), a beaky nose, white

2
Fear of the Victorians: degeneration back to a precivilised state.
3
Degenerate: An immoral or corrupt person, having lost the physical, mental, or moral qualities
considered normal and desirable; showing evidence of decline. (NODE, 485)
3
fangs and scarlet eyes. All this mentioned features are assigned on Stoker’s
character Dracula, which one can see in the chapter where Harker meets Dracula for
the first time, describing him precisely:

His face was a strong – a very strong- aquiline, with high bridge of the thin nose and
peculiarly arched nostrils; with lofty doomed forehead, and hair growing scantly round
round the temples but profusely everywhere. His eyebrows were very massive, almost
meeting over the nose , and with bushy hair that seemed to curl in its own profusion.
The mouth […] was fixed and rather cruel looking , with peculiarly sharp white teeth;
these protruded over the lips. […] His lips were pale, and at the tops extremely pointed,
[…] his hands […] were rather coarse – broad, with squat fingers. […] The nails were
long and fine, and cut to a sharp point. […]. His breath was rank, […] a horrible feeling
of nausea came over me (Stoker, 18/19).

Even the “ape like agility” (Kline, 61, qtd in Tomaszewska, 2) of Dracula crawling
down his castle corresponds to Lombroso’s observations concerning criminals.
The counts anatomical stigmata provide an external proof of his moral degeneracy.
In the novel he represents the racial and degenerate Other that invades Britain with
the purpose of contaminating the racial purity of his inhabitants and dissolving them
into atavistic vampires (Tomaszewska, 5).
The procedure to project anxieties onto Dracula, who stands for another culture,
draws a parallel between the obsolete Degeneration Theory and some aspects of
Postcolonial Theory.

2.3 Dracula as Oriental and Invading Other

Post-colonialist Theory mainly deals with hierarchical attitudes towards otherness.

Thus it asks among other things how western cultures stage otherness or alterity in
literature, art and the media. Thereby it asks which perceptions of own identity are
developed, which notion of culture underlies the persons to be analysed and how
minorities are depicted. One of the most famous representatives of Post-colonialist
Studies is Edward Said, who published the book Orientalism in 1978. In his book he
tries to furnish evidence that the western mind constructs unrealistic, distorted
pictures of an exotic, mythical and barbaric Orient (Lubrich, 364). This construction
serves western civilization to idealize itself, projecting its “fears onto an oppressed
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and helpless East” (Andras, 6). According to Lubrich, Said observes various
techniques that are used to portray the Orient: It is frequently represented as
feminine and erotic, in addition it provides a selection of curious, exotic and
grotesque items. The foreign or alien can be identified because of certain criteria
like character or physiology and it is perceived in the state of expiry. The monarchal
gaze of the person travelling in the Orient encompasses everything from an elevated
position. Overvaluation is able to change into undervaluation, idealization is able to
change into disappointment (365).
In Stoker’s time the British Empire had become so big that it was intent on
preserving his colonial holdings. Along with this task emerged the fear of reverse
colonialisation by the savage, foreign and colonized people. Stoker captured this
fear in his novel, focusing on the differences between eastern and western society by
using strategies of Orientalism. “Steeped in his own religious, moral, cultural,
political and economic values, the English visitor has often perceived the “Oriental”
model encountered in Romania as a threat. […] The Eastern becomes the mythical
demonical enemy, guilty for all existing wrongs (Andras, 2). Dracula resembles a
battle of contrasting cultures in which Transylvania and the vampire stand for the
lack of humanity, darkness, superstition, primitivism, the absence of morality,
predation and stagnation whereas England is represented as civilized, rational and
progressive (Senf, 37). “Transylvania is represented as realm of horror […], the land
beyond the civilized world where all the superstitions have gathered” (Andras, 2).
At the time of Victorian fin-de-siècle, there was the need to project one’s own
anguish on the distant and alien Eastern Europe (Margree and Randall, 220).
“Transylvania encodes cultural fears of an indistinct danger which might menace
western civilization, the worry about signs announcing disintegration of the British
Colonial Empire and, implicitly, an eroding of the myth of English superiority and
its right to subjugate inferior, barbarian people” (Andras, 2).
According to Feldmann, Dracula’s interest and self-improvement concerning the
English language and culture serves as preparation for an undetected invasion of
London. It is the main goal of Dracula to invade the centre of western civilization to
internalize it in a parasitic manner (157). Thus Dracula represents the oriental
invading Other, who only has evil in mind and consequently has to be obliterated by
Van Helsing, Jonathan Harker, Mina Murray, John Seward, Arthur Holmwood and
Quincey Morris, the representatives of virtuous western civilization.

5
3. Representation of Otherness in Coppola’s Movie Bram Stoker’s Dracula

Francis Ford Coppola’s production Bram Stoker`s Dracula is the only cinematic
realization that claims to be an adaption of Stoker’s novel, which can already be
seen by having a look at the title of the film. If the movie completely coincides with
the book, one should also have a degenerate, oriental and invasive other in it which
is represented by the count. In the book he differs physically, emotionally, socially
and culturally from the main characters in the story.

3.1 Harker and Count Dracula: The First Encounter

When the young solicitor Jonathan Harker travels to South Eastern Europe in order
to visit Dracula in his castle in Transylvania to conclude a real estate transaction in
Coppola’s film, he claims that he has the impression that he was “leaving the West
and entering the East.” After a week he finally reaches Dracula’s home country and
is taken along by a carriage which is ridden by a mysterious driver who has received
the order to bring Harker to the old castle Dracula lives in. In the dead of night, they
finally arrive at the castle doorway. An indefinable shadow covers more and more of
Harker’s body as he stands on the treshold, but a pan reveals who created the
shadow: Dracula, looking like a tall old and deathly pale man. His hands look like
claws and the backs of his hands are covered with long and thick hair. His eyes are
of a cold vivid blue. He is dressed in a sweeping scarlet cloak, which is embroidered
with several elements like a dragon, snakes, birds and fire. According to Eiko, who
is the costume designer of the movie, these elements function as symbol for
Dracula, who owns power over each of these animals. The colour red functions as
further symbol for Dracula, representing his passion and his obsession with blood.
Additively, Dracula wears a startling Kabuki hairstyle in order to emphasize the
androgynous quality of his character. “I wanted to give him an infinite variety of
personality, so that his true self is not easily revealed, remaining a mystery to the
audience. Is he a man or a beast? Devil or angel? Male or female? He is constantly
changing, in a different mood each time, like a kaleidoscope”, says Eiko (Coppola
1992, 38) ,who uses strategies of Orientalism as well as some of the atavistic
features that were mentioned by Lombroso and used in Stoker’s novel to create

6
Dracula’s degenerate physical appeareance. In this third scene of the film, Dracula is
also represented as degenerate racial Other. His physical appearance sheers from the
contemporary fashion of Victorian times as well as from the physical appearance
that was considered as ‘normal’. As he welcomes Harker, he puts down a bowl of
exotic fruit and an oriental looking lantern for his guest and stands there like a
statue. “Welcome to my house. Enter freely of your own will – and leave some of
the happiness you bring!” Harker responds unsure, “Count Dracula?” Dracula
smiles and bows courtly, “I am Dracula and I bid you welcome, Mr Harker, to my
house. Come in – the night air is chill, and you must need to eat and rest.” After the
counts invitation, there is a close shot at the threshold. The close shot implies that
something important is happening in this moment. Harker enters “freely” taking the
fateful step across the threshold that makes him a prisoner of Dracula. Dracula turns
and leads the solicitor into the castle. The great door closes behind them with a big
bang. As they move through the castle hallway, the lantern of the bag carrying count
casts bizarre moving shadows on the walls. Finally they reach the great hall setting
which is firstly shown by a wide shot. Harker is seated at a large oak table and a
sumptuous meal is served for him alone. Dracula mutters apologetically, “You will,
I trust, excuse me that I do not join you, but I already dined and never drink …
wine.” He pours wine for Harker and there is a medium close up on the guest’s
face, “This chalice is Persian is it not? Exquisite work, count. Worthy of kings.”
Now there is a low angle shot past Harker towards Dracula who steps back and
leans against a wall, studying his guest (Coppola 1992, 36).
Concerning his behavior, Dracula acts not so ‘gentlemanly’ and morally as he would
like to. When it comes to the conversation about his ancestors, he menaces his guest
and growls like a beast when Harker makes a comment about Dracula’s forefathers,
which, in his opinion, have not been successful in defending the church against all
enemies of Christ. The count is not able to choke his feelings, scaring Jonathan,
who, as Victorian gentleman, is not used to such exaggerated emotional outbursts
(Coppola 1992, 39). Here we can also draw the parallel to the moral lunatic.
As soon as Dracula is in the act of acquiring Carfax Abbey in London, one can see a
giant map of the capital city behind the two characters. In the scene, Dracula’s
shadow covers a large proportion of the map. This image reflects the interpretation
of Post-colonial Theory, that Dracula can be seen as an alien power that plans to

7
strike back against the British Empire, symbolizing a racial and moral threat that
destroys society from within.
The otherness of Dracula is also represented in the way he moves from one place
to another. He does not walk like Mr. Harker, he rather slides as if he would not
touch the floor at all. When Dracula signs the purchase agreement, he stands on the
left side of the table. Afterwards, when Harker wants to shake hands with him
because Dracula signed the real estate contract, he is suddenly gone, reappearing on
the other side of the young solicitor. The vampire’s shadow acts weirdly, too,
moving out of sync with the body of Dracula. It seems as if the shadow leads an
independent existence. After both men shook hands, the shadow spills the ink that
was in a small bottle standing on the oak table. The ink splashes on a small
photography of Mina Murray (who represents the reincarnation of Dracula’s lost
love, Elizabetha). Gazing at the picture, Dracula grows stiff and looks as dead as a
corpse. He stares at the picture of the woman that looks exactly like his true love,
who he lost about four hundred years before during war where he, Prince Dracul,
had to fight against the Ottoman Army because of its invasion of Europe. The Turks
shot an arrow in Dracul’s castle and fooled his wife Elizabetha by claiming that the
prince fell in battle. Desperate and believing her husband’s death, she flung herself
in the river that flew below their home. The suicide got excommunicated,
whereupon Dracul, fulfilled with grief and despair, defiled a cross and abjured
Christendom. By doing this, Dracul became the vampire Dracula. While the count
remembers this horrible incident, he nearly cries with the expression of both
desperation and desire on his face. Here he acts human for the first time and does
not appear feigned. He says, “The luckiest man who walks on this earth is the one
who finds true love.” Then he turns away, hiding his orgasmic reaction. Harker
comes back to the table and checks his pocket in an embarrassed manner. “Ah you
found Mina. I thought she was lost. We are to be married as soon as I return.” Now
the camera pulls back and one can see Dracula’s shadow growing and moving as if
he wants to strangle Harker, “while in front of it their bodies calmly discuss the
details of their business transaction” (Thomas, 299) One can hear a rustle of
feminine garments and laughter. Harker looks around but nobody appears and
nothing is happening. Dracula does not react to the noise at all. Harker continues,
“Are you married? Count – sir – are you married?” The reaction biding, the camera
makes a closeup on Dracula’s face whereby Jonathan stands in the background. He

8
responds: “I was married… ages ago it seems. She died….” Harker compassionately
answers that he would be really sorry about this fact. Dracula utters under his breath,
“She was fortunate. My life at its best is… misery”, he hands Jonathan his
photography “she will no doubt make a devoted wife. And you a faithful husband”
(Coppola 1992, 40).

3.2 Dracula’s Otherness in the Rest of the Movie

During the film one can find various other situations were Dracula’s otherness is
represented. First of all he cannot be seen in the mirror in the scene where he stands
behind Jonathan in the guestroom of his castle, shaving his guest’s beard.
Furthermore he licks Jonathan’s blood from the razor blade because of his insatiable
appetite for blood. Another aspect of his otherness is that he moves inaudible. When
he wants to go out in the night, he crawls down the walls of his castle, moving like a
lizard. He can command animals like wolves, bats and rats and he can change
himself into a wolf, a giant bat or into green mist. In the scenes where he is
transmuted, Dracula always acts after his instinct like an animal, with a view to
defloration and violent intercourse with young beautiful women. “In its sexualized
quest for blood the vampire is capable of disrupting what has culturally been
perceived as discrete patterns of sexual behaviour and of evading the taboos that
polarise heterosexuality and homosexuality. […] The vampire represents the
liberation of those sexual activities or desires that have been allegedly proscribed or
censored in society or repressed within the self (Hughes, 145). Even Focault refers
to vampirism as “a thoroughly Victorian displacement of the traditional sex act”
(Focault, 1981, 5, qtd in Hughes, 145). In this sense, Dracula also represents the
sexual and moral Other. Before Lucy gets raped in the labyrinth of her villa’s
garden, we can see Dracula as wolf-like creature picking up the scent of her, all is
filmed out of his perspective. His sight is blurred and a wide angle camera is used in
order to imitate the possible sight of a wolf. In the cinematograph scene, where
Dracula has his “first date” with Mina, one can see a dramatic shift away from the
monstrous and towards the sexually desirable. Dracula has morphed into a young
Victorian dandy, who has a goatee, wears sunglasses and who is dressed in
fashionable clothes (Bak, 103). Nevertheless he still represents otherness. When
Dracula tries to cast a spell on Mina by nearly seducing her in public – which is

9
inconceivable in the Victorian Age – his fangs extent as he is aroused by her,
furthermore the colour of his iris changes from blue into red. Here we have again a
takeover of the atavistic stigmata Stoker used for his character.

4. Conclusion

Different from the book, where the count bit all the ladies just in order to gain more
and more vital force, which he then uses to invade Britain and spread the vampire
race in western civilization, Dracula tries to control himself in the movie in order to
save Mina from what he calls the “curse of immortality” and from all the pain the
transformation into a vampire causes. In this aspect he acts like a human lover, who
renounces his own happiness in order to help his love. Coppola’s Dracula differs
from Stoker’s Dracula mostly in terms of motivation. He does not come to London
in order to destroy society. He comes to London in search of his lost love (Kaye,
189). “While following Stoker’s plot accurately and giving each of the characters
the part he or she was supposed to play in the novel, the film tells a totally different
story. […] Coppola changes the meaning of the events related in the novel to bear
out his idea” (Bak, 104). One example for this is the blood sucking scene in Dr.
Seward’s asylum, where Stoker’s vampire is represented as despicable creature who
kind of rapes Mina in order to transform her into a vampire. In contrast to this,
Coppola’s Dracula and Mina exchange blood as consenting partners, she voluntarily
wants to share his fate. Mina’s love will even allow the vampire to recover his initial
innocence and be saved from damnation after he is beheaded. Coppola mixes real
history – concerning Vlad the Impaler - with Bram Stoker’s novel and the
Hollywood romantic genre so that romance is moved in the foreground. “It becomes
clear that the studio [Columbia Pictures] was pushing the romantic love story, and
pushing it hard” (Skal, 281). Coppola creates a villain which represents features of
the threatening, scary, degenerate oriental other only at the beginning of the movie.
There is an attempt to stay true to his physical otherness – as it was invented by
Stoker – in the ‘Transylvanian part’ of the film, but the resemblance is limited and
“once the youthful Dracula enters the stage, there’s a dramatic change. The younger
version, the one that Mina falls in love with, is suasive and seductive and bears
hardly any resemblance to Stoker’s character. Dracula, rejuvenated by drinking
blood, is a handsome Prince Vlad rather than a gruesome vampire” (Rottenbucher,

10
2). In Stoker’s movie, Dracula differs from the other characters concerning his
culture and his physical appearance, but if one involves his motivations – wherefore
he became a vampire, wherefore he comes to London, wherefore he drinks blood -
one can see that he does no longer represent social and emotional otherness.
Traditional roles are reversed. The relationship between the victimizer and his
victim transforms into a love relationship. The villain is glorified at the end, one can
identify with Mina and Dracula as the romantic couple of the story, and no moral
conclusion can be drawn at the end. According to Bignell, women claim that they
can enjoy romance, eroticism, exoticism and role play because of the appealing mix
of Dracula’s otherness and qualities as a handsome lover. He is both pleasurable and
threatening (128).

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