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Kiss of the Vampire has a relatively good script, some very lush sets, a moving score composed by James Bernard, and some excellent acting; all in all this is an interesting film that shows the studio at its best, even without all of the familiar suspects. Barthes’ theory of semiotics can be applied. Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires and the fate of their two victims. Semantic code could be applied to the images of the bats and their conventional association with vampirism and horror in general. The symbolic codes of horror, darkness and fear are more widely reinforced through signifiers such as the male victim’s gesture code.
Dresses were made of light material to highlight their curves and revealing the flesh of arms and chest'sSerif font of the title is in the style of a wooden stake, a paradigmatic convention of the vampire genre. Additionally, the MES of of the stake functions as a proairetic code the images of a castle, bats, the vampire’s cape and dripping blood form part of the “shared conceptual road map” that give meaning to the “world” of the poster. The audience is actively encouraged to decode this familiar generic iconography. James Bernard supplies a big, booming musical score bringing impact to the visuals and handsome sets, in much the same manner as he had a few years before with Horror of Dracula. The climax, originally intended for that of Brides of Dracula, has special effects that seem barely adequate by today's standards but still remain fun to view even if you can't take them too seriously. The advertisement uses a commonly held ideology of the 50's that all women should be housewives while there husbands work and earn money. The advert depicts a woman who's hair, clothes and make up have been used to represent the average housewife, thus appealing to a wider audience.
Paul Gilroy argued that we still have systemic racism in the UK today, which are based on stereotypical and repeated assumptions about certain groups of people The fact that the main image link's to the poster for the original Dracula but because its in color tells us that its a modern telling of a story teller.
Kiss Of The Vampire
Use of serif font, in particular the pointy end of V is symbolic of vampires and death, and this is further anchored through the MES of blood dripping from the point Hall’s theory of representation can also be applied. Images of a castle, bats, the vampire’s cape and dripping blood form part of the ‘shared conceptual road map’ that give meaning to the ‘world’ of the poster. The audience is actively encouraged to decode this familiar generic iconography. Originally intended to be the third movie in Hammer's Dracula series (which began with 1958's Dracula with Christopher Lee and Peter Cushing, and was followed by 1960's The Brides of Dracula with Cushing alone), it was another attempt by Hammer to make a Dracula sequel without Christopher Lee. The final script by Anthony Hinds makes no reference to Dracula and expands on the directions taken in Brides by portraying vampirism as a social disease afflicting those who choose a decadent lifestyle. What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd." [2] The setting of the image uses low key colours, and the MES of the women's costumes contrasts highly with this, presenting a pleasing binary opposition to the target audience.
Generic fluidity: this sexy vampire film has evolved in to far more explicit erotic and romantic vampire films of the present day Painted poster is highly conventional of the time it was made, and allows the whole cast to stand next to each other, and hides the films mid budget The full moon is connotative of horror, mythical creatures, and the supernatural, which suggests the subgenre of horrorThe job of directing was offered to Don Sharp, who later said he had never seen a horror film before being asked to the job by Tony Hinds. Hinds told Sharp he thought the director would be ideal based on Sharp's other work. The director watched Curse of Frankenstein, Dracula and Stranglers from Bombay and became enthusiastic. [2] DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry. QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork. FRENCH Posters Gauntlett’s identity theory can be applied to the film poster. The inclusion of the female vampire could act as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment.
Similar to modern film posters with names of main actors can be seen easily in a large font. But also very different as production credits can be seen wheres now they are much smaller and credit a lot of individuals. The facial expression of the female vampire is aggressive, which suggests she is in power. Additionally, her facial expression is particularly unflattering, and subverts hegemonic expectations of female attractiveness. This is a subversive representation! Additionally, even though unconscious, she is thrusting her exposed cleavage forward, a clear example of sexualisation. Women are often sexualised in media products for financial purposes, as this allows the product to target heterosexual male audiences
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The use of a ‘painted’ main image is highly conventional of films of the period and links to the poster for Christopher Lee’s Dracula, but the fact that it’s in colour (anchored by the text “In Eastman Color”) connotes that this is a modern telling of an older story. The costume of the woman is fairly formal and stagey, which plays on the theatrical element of the film. The film looks old fashioned, even in the 1960s, and resembles a stage play, A conservative ideology, and a conservative outlook on female sexuality
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