Personification Of Death In Movies

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).

They shun the light and crave the taste of blood. The mere thought of them could make a grown man tremble. But what if a vampire wasn’t just a horrific creature of the night? What if they were completely human, enabling them to hide in plain sight? Wouldn’t that make them more dangerous? Due to popular Gothic literature, vampires are commonly romanticized to be pale bloodsuckers that hide in the dark, waiting for their next meal. This version of a vampire makes them easy to spot in literature, but is also very limiting in that it only lends itself to that specific genre. However, a different version, laid out by Thomas Foster, shows how anyone, whether they be fictional or nonfictional, can be considered a vampire through analysis of

Vampires and Zombies are common in today’s modern world through the use of the media. In this essay, I will be talking about how each of these beings say something about society, how vampires have been portrayed across time and how zombies have been portrayed. By doing this, I will use two references from TV shows.

No one can escape death. It’s one of so few unavoidable certainties in our lives and has held an important position in every human culture since time immemorial. Of course, this position has is different from culture to culture, and shifts over time. This is particularly evident in western culture. The shift is discussed at length in two essays: “Behind the Formaldehyde Curtain” by Jessica Mitford, and ‘The Fear of Dying’ by Elisabeth Kübler-Ross. Both explore different aspects of these themes – Mitford’s essay being deconstruction of a the uniquely North American process of embalming, and Kübler-Ross’ being an indictment of the clinical depersonalization of contemporary western attitudes toward death. Each utilize many different tools as writers, such as rhetorical modes. Rhetorical modes they share are exemplification, description, and compare-and-contrast.

Honors Theses. Paper 821.Meehan, Paul. The Vampire in Science Fiction Film and Literature, edited by Paul Meehan McFarland & Company, Inc., Publishers, 2014. ProQuest Ebook Central, http://ebookcentral.proquest.com.ezproxy.lib.apsu.edu/lib/austinpeay- ebooks/detail.action

Death is the great equalizer. No matter the person, death comes to all eventually. The idea that no matter what one does or says death’s grip is ever present scares a large majority of people. This means death is not a topic typically approach with thoughtful discussion in normal conversation, rather it is regulated to philosophers and academics. Cathy Malkasian seeks to challenge that notion in her graphic novel Percy Gloom. In it, Malkasian uses symbols that at first seem absurd, or amusing to broach the topic of death and deep truths surrounding it, in an accessible way. The three biggest symbols that Malkasin uses are the goats, the muffins, and Safely Now.

People die everyday all over the world. In United States, people use hundreds of different words to describe death. Generally, people that grow up in the United States tend to view death as a taboo subject and are seen as a topic that should be kept behind closed doors and contracted with an individual or family. A belief system that so many individuals hold to be true has been shaped over the past century. In this culture, death has become something that is enormously feared and as a result, some people stop living their lives to his or her highest potential because of their fear of dying. The effect that death has pertains to individuals of all ages, gender and ethnicities. But unfortunately, how death is viewed it has become more and

There are a lot of speculations about what happens to us after death. These speculations are mimicked in the many novels that we see today that reanimate the dead, and give rise to vampire and zombies. With vampires, the afterlife is very similar to what life is at present. Even though they are dead, they still emit life as we know it today. They have cognitive abilities, enjoy the good life as it were, with full memory of their previous life as well as the possibility of living forever. However palatable this may seem, not many would gravitate to such afterlife. The truth of the matters is, despite the fact that vampires emits life, they are not truly alive. As Louis puts it “[he] drank of the beauty of the world as a vampire drinks. [He] was satisfied. He was filled to the brim. But [he] was dead” (Rice 324). Therefore, despite his many effort, in a sense he seemed to be standing on a fine line between what it means to be dead or alive.

This is the main aim of this investigation - to identify and discuss the factors which influenced the constantly changing literary and cultural depiction of vampires. What turned the symbol of threat and horror into a mysterious outsider?

“” this is the definition of folklore, and from these stories we get a multitude of myths and speculation of what happens to us when we die. They range from just disappearing into nothingness to becoming a higher being or going into a higher plain of existence. There are ideas however, of a life on this earth after we die for those who have committed crimes or have not been buried properly, we become the other, the supernatural or ultimately the undead. The most common of which is the vampire. One of the most known vampires from literature is Bram Stoker’s ‘Dracula’ (1897) who is portrayed as a blood thirty, emotionless monster, which is the idea most often portrayed in folklore. This is a stark contrast from Anne Rice’s (1976) portal of a “” . The traditional idea of a monstrous creature who haunts the night is seen as an old idea and that people’s views of the supernatural are changing to a more humane, beautiful creature, not of a demon. This could be due to the popularity in teen and young adult fiction that happened in the late 1900’s. This change from traditional folklore is due to “” the way we perceive things are changing due to the influence of different cultures and ideas. Most of our ideas of vampires have changed from the traditional views to a beautiful human creature: seen in ‘Twilight’, ‘Vampire Knight’, ‘Vampire Academy’, and ‘Anita Blake’. These novels do have some elements of the monster portrayed in ‘Dracula’ and folklore but the main characters are the

The mischaracterization of Dracula and the propagation of the archetype and stereotype of vampires can mainly be blamed on the media. While this is not the grossest mischaracterization that we will see in this paper, it is certainly an early starting point for the making of monsters out of the misunderstood and unknown.

The generalization for vampires has been displayed in films and literature for hundreds of years. The stereotypical versions of vampires are that they have long fangs, sleep in coffins during the day, and suck the blood out of humans. Both novels contradict those stereotypes in different ways. To understand the diversity of the vampires described in both novels, one must examine the characteristics that the vampires display and the meaning and purpose behind them. David D. Gilmore’s book “Monsters” analyzes monsters and other mythical creatures. Gilmore describes why humanity invented the idea of

As one of the most attractive and enduring figures in the Gothic literature, the vampires have moved from being a peripheral element with the genre to a place near the center and are capable of generating its own massive tradition now. In the recent literary history, they have already been adapted to play a role of a rebel against the moral, social, religious, and even sexual taboos. Put simply, the vampires are now a metaphor of human beings in the modern society and life.

The legend of the vampire has emerged countless times within human imagination over the past few centuries. The first available representation of the mythical creature in prose fiction can be found in John Polidori’s “The Vampyre” (1810). It was not until eight decades later that Bram Stoker popularized the existence of this figure with the publication of “Dracula” in 1897. The folklore of the vampire has come a long way since and can be found in today’s popular media more frequently than ever before. However, with due course of time, the representation of the creature has taken alternate routes and today’s vampires are noticeable different – socially and physically – from their predecessors. One effective path to trace this