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A collection of essays about the portrayals of female vampires through the history of film, beginning with Carl Theodore Dreyer's Vampyre and culminating with the Twilight series. About This Item We aim to show you accurate product information. Manufacturers, suppliers and others provide what you see here, and we have not verified it.

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Dracula's Daughter (1936) Movie Review

These essays address a number of issues raised by the female vampire film, such as violence perpetrated on and by women; reactions to the genre from feminists, antifeminists, and postfeminists; the implications of female vampire films for audiences both gay and straight; and how films reflected the period during which they were created. Other topics include female vampire films in relationship to vampire fiction, particularly by women such as Anne Rice; the relationship of the vampire myth to sexually transmitted diseases like AIDS; issues of race and misogyny; and the unique phenomenon of teen vampires in young adult books and films such as Twilight.

Featuring more than thirty photos spanning several decades, this collection offers a compelling assessment of an archetypal figure—an enduring representation of dark desires—that continues to captivate audiences. This book will appeal not only to scholars and students but also to any lover of transgressive cinema.

A Subgenre of Horror. One is later found, insane, and the other goes missing. Professor Von Helsing is summoned and he tracks the missing man to London, where he is in thrall to Dracula's daughter, the Countess Szelinski sic. When she attempts to flee with her thrall to the Orient by ship, Von Helsing and three others book passage on the same ship. During a violent storm, Von Helsing destroys Dracula's daughter and, with her hold over the men broken, the scenario closes with a double wedding.

This version was submitted on August 28, to the British Board of Film Censors , which rejected it, saying in part " Dracula's Daughter would require half a dozen This scenario was passed but because its details were not recorded by the BBFC it is unknown how much it differed from the original or how much if any of that scenario was retained in the final script.

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Breen reported back that the script "contains countless offensive stuff which makes the picture utterly impossible for approval under the Production Code. It is unclear whether this submission was the same submission that the BBFC had previously passed. A third Sheriff draft was submitted on October 24 and Sherriff's fourth and final draft on November All remained unacceptable, and Whale biographer James Curtis suggests that Whale, who had no interest in the project and feared that his commitment to it might cost him control over the filming of Show Boat , encouraged Sherriff to submit ever more wildly unacceptable versions in hopes of getting himself off the film.

Asher advised Breen that the Sherriff script was not going to be used and that a new script would be put together from scratch.

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Screenwriting duties were assigned to Garrett Fort. Dracula's Daughter was Gloria Holden's first starring role and reportedly she was extremely displeased at having been assigned it. Like many actors, Holden looked down on horror films. She had also seen Bela Lugosi struggle over the years since Dracula was made to free himself from typecasting and feared that the role would lead to the same fate for her.

Critic Mark Clark believes that ironically it may have been Holden's disgust for the role that led to the quality of her performance. Initially Lugosi and Jane Wyatt were set to star in the film.

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Universal also announced that Boris Karloff and Colin Clive , who had starred together in Frankenstein and Bride of Frankenstein , would appear, [12] and that Cesar Romero would play Dr. Shooting on Dracula's Daughter began on February 4, , rushed into production before Fort had completed the script, [14] because of a deadline clause in Universal's option of the property from Selznick. Dracula's Daughter was the last in the first cycle of Universal Horror films that reached back into the s. Publicly, Universal said it was because a British ban on horror films would cut too deeply into the revenue such films could generate.

The money came from J. When the loan was called in March of the following year, Universal was unable to repay it. Standard assumed control of the studio on March 4, and Rogers replaced Junior as head of production. Rogers did not like horror films and he shut down production on them following the release of Dracula's Daughter to focus on fare like Deanna Durbin musicals. Makeup artist Jack Pierce and special effects supervisor John P.

Fulton worked together closely, especially on Holden's make-up design. They combined special lighting with a greyish-green make-up for Holden's final scenes, creating a pallor that contrasted with the more normally flesh-toned make-ups of the others in the scene. D'Agostino redressed Charles D. Hall 's set of Dracula's castle and created new sets including a London bridge, the moor where Dracula's body is burned and Countess Zaleska's apartment.

The New York Times gave Dracula's Daughter a solid, albeit somewhat tongue-in-cheek, review upon its release, citing the film's "blood-curdling events" and noting that "Gloria Holden is a remarkably convincing bat-woman" in concluding that the film is both "quite terrifying" and "a cute little horror picture. Later reviews of Dracula's Daughter are sharply split. Entertainment Weekly , reviewing the film following its video release, called it "one of the most satisfying vampire pictures ever made".

Describing director Hillyer's visuals as "lush, evocative, and suffused with just the right gothic chiaroscuro" and noting that "Gloria Holden, as the reluctant vampire protagonist, absolutely drips patrician eroticism", EW concludes that this film is better than Lugosi's original Dracula. Ryan Cracknell of Apollo Movie Guide, while echoing the praise for Holden's performance, nonetheless found that the film "doesn't hold up so well today".

Citing what he sees as slow pacing and "long bouts of over-the-top dialogue", Cracknell compares the film to "reading a textbook — not the most exciting thing in the world, but it does provide insights into and perspectives on the foundation of early horror movies and how many similarities carry over into movies half a century and more later. Phillips, Jr. Horror author Anne Rice has named Dracula's Daughter as a direct inspiration for her own homoerotic vampire fiction.

Green, William R. Sanford and Howard Schroeder, was published in The full story of the making of the movie, plus the script and pressbook, are featured in the book "Scripts from the Crypt: 'Dracula's Daughter'" BearManor, by Gary D. Rhodes, Tom Weaver et al. The lesbian vampire has been a trend in literature dating back to Joseph Sheridan le Fanu 's novella " Carmilla ".

Dracula's Daughter (1936)

Dracula's Daughter marked the first time that the trend was incorporated into a film. PCA head Breen took special notice of the scene between the Countess and her model, Lili, writing, "This will need very careful handling to avoid any questionable flavor. In response, Breen wrote:. The present suggestion that Lili poses in the nude will be changed.

She will be posing her neck and shoulders, and there will be no suggestion that she undresses, and there will be no exposure of her person. It was also stated that the present incomplete sequence will be followed by a scene in which Lili is taken to a hospital and there it will be definitely established that she has been attacked by a vampire. The whole sequence will be treated in such a way as to avoid any suggestion of perverse sexual desire on the part of Marya or of an attempted sexual attack by her upon Lili.

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Gay film historian Vito Russo noted in his book The Celluloid Closet that Universal highlighted Countess Zaleska's attraction to women in some of its original advertising for the film, using the tag line "Save the women of London from Dracula's Daughter! Another lesbian-tinged scene which has received less critical attention comes when the Countess is holding Janet captive.

Described as "the longest kiss never filmed", Countess Zaleska "hovers lovingly over Janet Bright Lights Film Journal , after noting that "Gloria Holden in the title role almost singlehandedly redefined the '20s movie vamp as an impressive Euro-butch dyke bloodsucker", draws an implicit comparison between Countess Zaleska's seeking to cure her vampirism through psychiatry and the former position of mainstream psychiatry of homosexuality as a mental illness a view still held by a minority in the profession.