A Social Realism Film Written By John Ajvide Lindqvist And Directed By Tomas Alfredson

Since the beginning of time vampires have been categorized into different "types” and are portrayed in different ways throughout several books. This paper will focus on three vampires from the following books: Dracula by Bram Stoker, and I am Legend by Richard Matheson. Dracula is considered to be the traditional vampire, where it all started, and the vampires in Matheson’s book, follow somewhat Stoker’s concept, but is more of a modern “type” of vampires. Certain vampire elements have been presented, but others have been completely removed or altered. In addition, elements along with appearances are used to infer if the vampire is a form of “the other”. There are two types of vampires; the traditional or modern vampire which can be distinguished based on the elements present in their storyline.

The truly shocking and terrible, blood-sucking-monster we once  knew have now changed into beautiful, perfect,and healthy human beings. This paper will discuss the change and the reason why  the change of idea many still accept and like the modern picture of vampires.In order to answer this, I will examine the differences between Bram Stoker's Dracula , the typical figure of horror before, and the soft light just before sunrise or after sunset's Edward Cullen, the obvious example of the 21st century vampire. From this, I will be able to decide out what changed in the features of the vampires we know today.Many would think about Edward Cullen as a "shockingly disrespectful behavior of the vampire old example" (Mole).

With several illicit subjects listed throughout Bram Stoker’s Dracula, the book becomes a playground for psychoanalysts. Whether it be to see a subjects as simple as the conscious take over a character, or a character’s surroundings corrupting its victims, Dracula intrigues in more ways than just its vampiristic features. The following is a psychoanalytic study with a focus on vampirism imitating sexual practice and drug usage today while shining a light on the complex psychology of characters, and how even the author can influence the course of its story.

Sommersby is a 1993 romantic drama film directed by Jon Amiel. It is a remake of the 1982 French Film Le retour de Martin Guerre (The return of Martin Guerre) by Daniel Vigne. Both of these stories center on a man who returns home after being away many years at war. Yet, the man who returns is an imposter, who appears to fool his family and the townspeople. It is not till near the end of each film, that you learn the truth.

Tim Burton’s gothic drama film Edward Scissorhands explores what is immoral with our society. A present issue with humanity is people who are different are encouraged to conform. In addition, society plays by the rules and follow societal norms rather than listening to their hearts. Most importantly, humans are cruel and exploit those who are vulnerable for their own benefit. Through the use of film techniques, Burton proposes the faults in humanity and the brutal nature of humans.

Monster exists long time ago and they are everywhere. However, there are different types of monster, some that are good and some that are bad. Many people that watched monster films get the desire of being one of the monsters that appears in the film. This essay will argue the different aspects and effects that monsters have in a person. I will use two article that will help explain the differences aspects and actions of the monster. One of the articles is “Here Be Monsters” by Ted Genoways, second article is “Fear of the Monster is Really a Kind of Desired” by Jeffrey Jerome Cohen. “Monster can function as an alter ego, as an alluring projection of (an Other) self” (Cohen, 190). Furthermore, this essay will show some fallacies that the author

FW Murnau’s 1921 film Nosferatu is an appropriation of Bram Stoker’s 1897 novel Dracula. Despite it being an appropriation, explicit gothic conventions remain evident, which explore societal fears and values. These fears and values differ from Dracula, due to distinct contextual influences of different time periods.

What differentiates Mary Shelly’s novel, Frankenstein from the majority of horror novels are the very real and timeless themes it explores.  The overriding theme of the novel - scientific investigation without consideration of morality and responsibility is still an important topic in today’s world.  “Perhaps the reality of cloning and genetic engineering makes this theme more relevant today than when Frankenstein was first published”(Patterson). This theme, along with the more subtle themes of revenge, the inability to accept those who are different, and the inability to control one's destiny are all themes which separate Frankenstein from other novels in the genre.

Like most horror stories, Mary Shelley’s Frankenstein has a wretched monster who terrorizes and kills his victims with ease. However, the story is not as simple as it seems. One increasingly popular view of the true nature of the creature is one of understanding. This sympathetic view is often strengthened by looking at the upbringing of the creature in the harsh world in which he matures much as a child would. With no friends or even a true father, the creature can be said to be a product of society and its negative views and constant rejections of him. Although this popular view serves to lessen the severity of his crimes in most people’s eyes, the fact remains that the creature is in fact a cold-hearted wretch whose vindictive nature

Bram Stoker’s Dracula is a story of horror, suspense, and repulsion. The main antagonist, Count Dracula, is depicted as an evil, repulsive creature that ends and perverts life to keep himself alive and youthful. To most onlookers that may be the case, but most people fail to see one crucial element to this character. Dracula is a character that, though it may be long gone, was once human, and thus has many human emotions and motives still within him. Let us delve into these emotions of a historically based monster.

In contrast, there is a fear of becoming the “Other.” In Bram Stoker’s Dracula, the charismatic figure seems benevolent; however, his deceiving appearance turns out to be a creature that corrupts mankind – his attractiveness acts as a lure to display vice in people. Dracula targets virgins to become his lamias – so that innocent women

Many scenes in ‘Frankenstein’ are pastoral, thus creating a non-threatening atmosphere, however, it is circumstances and ignorance which result in the creature becoming despised and hunted which in return change his nature and character when he seeks revenge for the injustices done against him. Dracula, from the beginning, is the embodiment of evil - he plots and schemes. One could make excuses for him and say he needs blood or he becomes extinct and it is a form of self-preservation. This is so, however, throughout the novel we are faced time and again with examples of gratuitous malevolence he makes no distinction between man or woman, child or baby. Many scenes in ‘Dracula’ are set in the dark and ominous Castle Dracula, this results in a pervading atmosphere of apprehension.

Steven Avery, a family man, a victim of injustice and an accused murderer. One may have reasoned that his murder conviction was a crime of passion, due to the injustice Steven suffered from his 1985 false conviction of rape and assault, but that may have been before his story caught national attention. A documentary, “Making a Murderer”, directed by Laura Ricciardi and Moira Demos, arose from his story’s infamy. With this documentary came numerous questions as to Avery’s possible innocence, but above all else answers that shed light on a possibly corrupt justice system that appears intent on framing Steven Avery for Teresa Halbach’s murder. “Making a Murderer” effectively portrays a message of the injustice of Steven Avery’s murder conviction and possible corruption within the Manitowoc’s justice system through the use of footage and accounts from people who were involved with his conviction.

The film “Hearts and Minds” by Peter Davis was made in 1974. Peter Davis truly scrutinized the Vietnam War in this film along with the involvement of the United States. Throughout the film Davis interviews many people about their true opinions and views of the war and the United States involvement. Peter questioned commanders, civilians, soldiers even a bomber pilot (Randy Floyd) and more in the film. The experiences of these people were also mentioned during these very private interviews. As you watch the film you indeed recognize how the people that are very strongly against the war are portrayed much more favorable than those who encouraged it. It is important to emphasize that the title of Peter Davis’ film “Hearts and Minds” was inspired by how the president during this wartime, which in fact was Lyndon B. Johnson, announced that ultimately the victory in the Vietnam War was dependent on the United States military winning the “hearts and minds” of the Vietnamese people.

In my essay I am going to reference two films, Edward Scissorhands (1990) and Vincent (1982), directed by Tim Burton. Edward Scissorhands, is Tim Burton’s take on the Frankenstein story. We can clearly see the influences that have appealed to Tim Burton in the classic Frankenstein (1931) was not the character’s monstrousness appeal but the sense of sad sorrow that audiences sympathized to in Boris Karloff’s performance. Whereas in Tim Burton’s vision, we see a “Special” character as the Frankenstein Monster, in the similar way that we call people with disabilities Special. And then we have Vincent, a short stop-motion animation. The short film itself is an entertaining aspect of a suburban boy named Vincent who recites Edgar Ellen Poe and categorizes with Horror film star, Vincent Price. With similarities to Edward Scissorhands, the main character is a chance for Tim Burton to represent himself on the screen as a tortured boy, outsider and artist. I am going to discuss how cultural and psychological concerns are represented through characterization, art direction, cinematography, and sound. I will support my discussion by analyzing a reflection on both the similarities and differences between the two films, and whether a distinctive “Burton” signature (aesthetics, cultural and psychological concerns) is evident.