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Dracula Extension Speech

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Dracula Extension Speech

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From the ability to change physical form to a blood-thirsty nature society has always been morbidly fascinated with the concept of Dracula. It has not only seduced literature such as Bram Stoker’s Dracula but also infected mainstream music and film industries. Many composers have expanded and appropriated much of the vampire genre such as Francis Ford Coppola’s Dracula and Slayer’s Bloodline. The ideas surrounding vampires has been of good versus evil, the nature of religion and immortality. It is due to these notions which allow us to assess the visual and literary techniques, and context of these texts where vampires have long grasped the general population’s interest. Bram Stoker’s Dracula deals with the concept of vampirism in a ‘black and white’ view. The main antagonist is seen as a demonic monster that defied the status quo and attacked the innocent. Stoker purposely uses the technique of writing the novel in first person of every character except for Dracula creating a sense of mystery and foreboding, as the characters and readers themself is uncertain about Dracula’s true nature. However, the reader is hinted that Dracula is characterised as a sinister monster by small occurrences such as his feeding of a young child to the three vampires where Jonathan recounts, ‘there was a gasp and a low wail, as a half-smothered child… I was aghast’. This scene in the early chapters of the book highlights the inhumanity of Dracula where Stoker demonstrates that this character is not only evil but also void of any morals. However in later appropriations, the monster is no longer seen as pure evil, but in fact has the ability to be more humane. In Coppola’s Dracula the opening scenes showcase the creation of Dracula, demonstrating the transition from human to monster. Not only does this allow the audience to understand the existence of this monster but also empathise with this creature, blurring the lines between good and evil. However the audience is still reminded...

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