Reading/ Literary Analysis Audience: classmates who argues that “Dracula” is not a Gothic genre Purpose: to show them that “Dracula” is a perfectly good example of Gothic genre “Dracula” a novel by Bram Stoker‚ deals with vampire folklore‚ Christian beliefs‚ and mostly gothic elements. Gothic elements are tremendous in this novel as it is seen a lot throughout the novel. The components of classic gothic elements as seen in “Dracula” includes the setting of the novel‚ the tone‚ a villainous character
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obvious truism that Bram Stoker’s Dracula originates from a century that historians often describe as the most significant in terms of revolutionary ideology‚ whilst wishing to avoid the clichéd view held‚ it is undeniable that the more one delves into the depths of this novel the greater wealth of meaning demonstrates significant correlation with Marxist ideology. The 19th Century saw the emergence of revolutionary socialist Karl Marx‚ who himself used the vampire metaphor to describe the capitalist
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Wences uses her personal experience in “My Life in the Shadows” to raise public awareness to the problems illegal immigrants‚ like herself‚ face on a daily basis. Wences opens a window for her audience to see the frustration encountered by youth pleading for a chance at success in the country that has become their new home. Her writing implores support for the DREAM Act bill‚ which will allow for these young individuals to come out of the shadows. Her personal illustrations of the adversities faced
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The sub-genre of Vampires does this‚ but the way it induces these feelings has changed over time‚ with the two features of Male Vampires and Female Victims representing this change. Three movies that exemplify the aspect of change within the two features are‚ Dracula (1931) directed by Tod Browning‚ Fright Night (1985) directed Tom Holland and Twilight (2008) directed by Katherine Hardwicke. These three movies represent the change in the genre and society itself. The film Dracula directed by Tod
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"Both Mary Shelley’s Frankenstein’ and Bram Stoker’s Dracula’ are concerned with representations of "evil"". Which creation/character do you find most frightening and why? Evil features in both Dracula’ and Frankenstein’ but the personification of this evil is different in both novels. A feeling of menace and doom pervades Dracula’ because of his supernatural powers. One feels that he has control of the evil and he has the power to manipulate the environment and people for his own ends. Frankenstein’
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Lewis’s The Wizard of Gore and Clive Barker’s Lord of Illusions? Or shock-rockers like Alice Cooper and Marilyn Manson? DS: I was influenced by a lot of stuff. Like Universal monsters got me into the whole horror movie thing. G&C: Dracula or Frankenstein? DS: If it was Dracula vs. Frankenstein‚ I’m a Frankensteiner. But it was also other things like Tarantino films. I remember watching Reservoir Dogs before I was even old enough. That scene where Michael Madsen cuts off the cop’s ear‚ I thought that
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Vampires have stepped out of the darkness and into the Hollywood spotlight by dominating best-selling books‚ television shows‚ and movies. Since the beginning of civilization vampires existed as a metaphor for beliefs concerning life and death and societal issues. They evoke images of beautiful seductive creatures with fangs that seduce in their prey‚ with their mesmerizing stare along with their charm‚ wit‚ and most importantly good looks. Vampires have also evolved to fit into societal trends.
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Explore how far the ’Vampire Diaries/Being Human/Misfits’ DVD cover conforms to genre conventionsIn this essay‚ I will be analysing the DVD cover of the ’Vampire Diaries’ which is a television programme in the teen-supernatural hybrid drama genre. I will also be analysing the covers of ’Being Human’ and ’Misfits’ and I will compare and contrast them with the ’Vampire Diaries’ cover. The typical genre conventions of supernatural dramas are that there are supernatural beings such as ghosts. Werewolves
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Difference in Memory MAHUA SARKAR Sociology‚ Binghamton University‚ SUNY Everyone lives in a story . . . because stories are all there is to live in‚ it was just a question of which one you chose . . . (Amitav Ghosh‚ The Shadow Lines)1 INTRODUCTION The study of popular memory is necessarily relational. It involves the exploration of two sets of relations: (1) that between dominant memory and oppositional forms across the public field‚ including academic productions; and (2) the relation between
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After seeing this house‚ Ila and the narrator qurrel about the importance of radical politics. Ila considers the death of Alan‚ Mike and Dan who raised their voices against war-mongering as sad because they were casualties of a ruthless nationalism. She also thought that Alan and his friends‚ who were witness to the war and the fight against fascism‚ must have been happy as she was in her political activism. The quarrel about courage and political activism continues between Ila and the narrator
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