MES of hair colour: victim's blonde. Hammer films made heavy use of typecasting, casting the same kind of hegemonically attractive woman over and over again. Blonde hair here is symbolic of hegemonic attractiveness, and reinforces certain stereotypes about the value of women 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] Follow's code's and conventions of a 'monster movie' film poster. It represent's the monster and a female victim and also uses font's that had featured on this type of poster before as well.

MES of male victim features a prone man with an unbuttoned shirt, which is an an example of sexualisation . Van Zoonen would argue that this sexualisation of men is highly atypical and challenges stereotypical assumptions of the patriarchy An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration. Sharp, Don (2 November 1993). "Don Sharp Side 3" (Interview). Interviewed by Teddy Darvas and Alan Lawson. London: History Project. Archived from the original on 13 July 2021 . Retrieved 14 July 2021.Thompson, Howard (10 October 1963). "Screen: Knights and the Supernatural". The New York Times: 49. her expression codes her as being a monstrous, violent, dangerous woman, which subverts the idea of the male gaze 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. Older’ stereotypes of women as passive victims of men and more modern ‘male fears’ of women challenging male dominance could both be seen to be encoded in this film poster.

The 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] 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. Gerald and Marianne (Edward de Souza and Jennifer Daniel) are uneasy guests in The Kiss of the Vampire (Hammer 1964) The 1960s audience for this advert could be assumed to be familiar with the codes and conventions of ‘monster movie’ film posters – such as its composition, fonts and representations of ‘the monster’ and its (usually female) victims. Interesting intertexts for comparative study might include: The Evil of Frankenstein (1964) and Blood From The Mummy’s Tomb (1971).

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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. Films often reflect societal concerns- this reflects the males concerns that the role of women was changing significantly and this could be a threat to the status quo of a male dominated world. x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad. BRITISH Posters Originally intended by the studio as a Dracula film, the count's name is never mentioned in this film. The young couple (Edward De Souza, Jennifer Daniel) have much of the screen time and are both pretty bland as performers. De Souza's character is a bit of a dope (at least to experienced horror fans who can well see ahead in the story as to what is about to happen to them) while Daniel adequately serves her role's requirements by being young and attractive. Let's face it, folks, the cult of vampires don't want her attendance at the party because of her conversational ability. Serif 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