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The evolution of vampires in pop culture
The evolution of vampires in pop culture
The evolution of vampires in pop culture
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The Different Changing Vampire Behaviors Between The Salvatore Brothers
The CW television show The Vampire Diaries, based on the book series, is a popular supernatural drama which has followed three main characters: Elena Gilbert, Stefan Salvatore, and Damon Salvatore. The series is location is a town called Mystic Falls. Elena at the beginning of the series is a human that lives with her brother and aunt because her parents died in a car accident. She meets one of the Salvatore brothers at school and is instantly attracted to him. The series later on starts a love triangle between the brothers. Recently on the television show, Elena Gilbert’s character was written off in a way that the show could bring the character back in the future if they
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The vampire has transformed from being scary, old, unattractive, and unhuman, to being young, attractive, acts like a human, and fits in more. The traditional vampire style made a huge change when the soap opera show Dark Shadows made vampires question its nature. Since then, vampires have split into being more human-like and/or still stay true to the traditional vampire roots. Vampires have evolved into having love interests with humans and some even help fight real evils, other than themselves. In The Vampire Diaries, Stefan is more of the human-hero vampire, but he does struggle with his true nature. Damon at the beginning of the series does not have a conscious and does not really care for other humans since he drinks human blood. There is a power struggle between the two Salvatore brothers throughout the series. The question remains that will Damon show that deep down he has some sort of conscious or is he just pure evil? Julia Plec, executive producer/writer throws into this idea that, “We like to think the darker a character goes, the more we’ll get a window into where they have light and the opposite as well” …show more content…
Stefan saw Elena for the first time trying to rescue her from a horrible car accident. He noticed that Elena looks exactly like his past lover, Katherine, who turned him into the vampire, just like Damon. He decided to stay back and find out more about Elena, which is why he enrolled back into high school. Paul Wesley, who plays “Stefan” and sometimes other minor characters in the television series, discussed in an interview how his character is similar to himself in real life. Paul mentioned how they both moved a lot throughout life, did not really fit in, and were trouble-makers (Vampire Diaries Guide). Damon likes to refer to his brother sarcastically as “Saint Stefan” because of how well he behaves as a vampire. Stefan wants a normal life and being a vampire contradicts his morals. Wesley confirms with this by saying, “Stefan hates being a vampire, he doesn’t want to be a vampire. He’s constantly struggling with the dark side. He has a need to feed on human blood. It’s not easy for him not to do it. He wants to experience life as a normal human being, whereas his brother loves vampirism; he’s enjoying it” (Channel Guide Magazine). Throughout the show, Stefan continues to do a lot of human things still like writing and listening to
...Enzo to guide him and help him through situations. Living with Enzo was almost like living with another human, they understood each other and respected each other. Having Enzo by Denny’s side had helped him in many ways, but it had also changed how he lived and how he thought.
Just some of The vampire’s numerous powers are: He can turn humans into the Undead, he is virtually immortal, he has the ability to grow younger by drinking blood, he casts no shadow, he casts no reflection, he has the ability to crawl along walls, he has the ability to control animals, he can control the weather and he also has the power to transform his own shape. Here we can see these powers.
J. Gordon Melton, in the excerpt “Sexuality and the Vampire” published in his The Vampire Book: The Encyclopedia of the Undead (1998), explains that vampires have a sexual appearance that started from their origin in Dracula. Melton supports his statement by analyzing the monsters' transition to sexual beings through the stories of Dracula’s desires, multiple countries’ erotic tales revolving around vampire-like beings, the manifestation of sensual themes in literary, stage, and screen works, and their current evolution of the once terrified immortals to loved heroes. The purpose of this essay was to outline the seductiveness of the written immortal creatures in order to explain the fanged-mammals’ appeal beyond their terrifying monster abilities.
Buffy the Vampire the television series first aired in 1997, based on its 1992 movie staring Kristy Swanson written by Joss Whedon. The Television series aired its first episode titled “Welcome to the Hellmouth” and we are introduced to a scene of misdirection, a young woman wondering the new high school with a young man who clearly has some intentions he is wanting to express. We immediately make the assumption that he is the vampire looking for blood, very quickly it is revealed that it was she, Darla, who was the danger and with this curve ball the idea of strong women and female empowerment begins. With a new high school, and new characters particularly Sarah Michelle Gellar as Buffy Summers, Nicholas Brendon as Xander Harris, Alyson Hannigan as Willow Rosenburg and Anthony Head as Rupert Giles. We are delivered the foundations for characters and story very smoothly and packed with information within the first fifteen minutes. We know at this point we are seeing a collection of themes that will become very important to popular culture and spawn an ever growing collection of fan fiction and spin-offs, cosplay, discussion and social commentary as topics for study.
After reading the text, it would seem elementary to identify the vampire, Carmilla as a
While Cullen chose the path of compassion and became a doctor (Meyers, 2005; pp. 339), the Count planned to invade the British empire (Stoker, 1897/2001; pp. 328). Healing or invading, both can get lonely with time. Cullen, as a physician had decided to turn a human into vampires only if he could save them from death. All the humans that Cullen changed, he called them as his family. They were part of his coven and moved with him wherever he went (Meyer, 2005). On the other hand, count Dracula took by force and against the will of his victims. He possessed the power to hypnotize and control his victims, as he controlled Mina when he forced her to drink his blood (Stoker, 1897/2001). He lives with three beautiful female vampires in his castle, but their relationship to the Count is not clarified in the book. In chapter 3, when they are scolded by the Count for attacking Harker, they taunt him that he does not love, Dracula responds that “Yes, I too can love; you yourselves can tell it from the past” (Stoker 1897/2001; pp. 39). Although they exist in the castle and are fed by the count as noted in Jonathan’s diary entry, Dracula has no apparent interest in them. Similarly, after he changes Lucy Westenra to a vampire he stops visiting her. He feels no need to connect or form relationships with the humans he changes. As immortals, both Cullen and Count Dracula are destined to
Carmilla is an example of a woman who loves her food far too much. Carmilla is consumed entirely by her food, even sleeping in a coffin of blood: “The limbs were perfectly flexible, the flesh elastic; and the leaden coffin floated with blood, in which to a depth of seven inches, the body lay immersed” (Le Fanu 102). There exists a unique relationship between the vampire and their victims. Food becomes defined in terms of victimhood, distinctly separated from humanity’s general consumption of meat. The need for human victims makes hunting synonymous with courtship, as intense emotional connections are established between the vampiress and her food. As seen in the intense relationship developed between Laura and Carmilla, the vampire is “prone to be fascinated with an engrossing vehemence, resembling the passion of love, by particular persons” (105). For Carmilla, cruelty and love are inseparable (33). The taking of the victims’ blood for sustenance is a highly sexualized exchange of fluids from one body to another. The act of consumption is transformed into an illicit carnal exchange between the hunter and the hunted.
After analyzing The Scarlet Letter, Roger Chillingworth is the ideal vampiric figure, supporting Thomas Foster’s perspective about vampirism from his book, How to Read Literature Like a Professor. In fact, Roger Chillingworth, presents many instances of how vampires might act and appear in literature. Even though he is not a literal vampire, it does not
these wolves were sent to do this job. However, he forces himself to stay away from the Cullens, vampires, because of his love and loyalty to Bella. This love turns sour when Edward Cullen is forced to turn his wife, Bella, into a vampire. Jacob hates Edward for what he has done to Bella and in a spur-of-the-moment decision makes up his mind that Edward should be killed. He is so furious he does not even bother to learn the reasons Edward has done this act. Jacob goes to the Cullens' house, where his whole life is about to change. "The gravity of the earth no longer tied me to the place where I stood. It was the baby that held me here now. Renesmee" (Breaking Dawn,shmoop.com). As soon as he sets eyes on the precious, half-vampire, he knows Renesmee is his soul mate
I believe she is a vampire because they bolt down the coffin hoping she will not escaped. As some days pass his mental condition worsens...
Residing with her father and two governesses, she is socially isolated and motherless, with negligible paternal involvement. Laura epitomizes vampire literature’s prototypical victim. Moreover, foreshadowing her successors, Laura begins her strange tale with the words, “I am now going to tell you something so strange that it will require all your faith in my veracity to believe my story. It is not only true, nevertheless, but truth of which I have been an eye-witness” (91). Laura’s appeal to believability, based upon personal testimony, augmen... ...
Humanity has always been fascinated with the allure of immortality and although in the beginning vampires were not a symbol of this, as time passed and society changed so did the ideas and perceptions surrounding them. The most important thing to ask yourself at this point is 'What is immortality?' Unfortunately this isn't as easily answered as asked. The Merriam Webster Dictionary says immortality is 'the quality or state of being immortal; esp : unending existence' while The World Book Encyclopedia states it as 'the continued and eternal life of a human being after the death of the body.' A more humorous definition can be found in The Devil's Dictionary by Ambrose Bierce:
The Vampire Diaries set in the fictional town of Mystic Falls, Virginia, a town with supernatural history since its settlement of migrants from New England in the late 19th century. It follows the life of Elena Gilbert, a teenage girl who has just lost both parents in a car accident, as she falls in love with an 162-year-old vampire named Stefan Salvatore. Their relationship becomes increasingly complicated as Stefan's mysterious older brother Damon Salvatore returns, with a
The Twilight series is a bestselling series written by Stephanie Meyer that has captivated millions of teenage girls. Twilight diverges from the vampire lore quite a bit and contains very little information about any other supernatural beings. Most vampire stories stress that vampires are night dwellers; that they cannot remain “alive” when the sun rises. Nevertheless, Twilight ignores that known ...
When the word “vampire” comes to mind, people think of the traditional pale-faced, malicious bloodsuckers, sporting a cape and killing people when they’re sleeping. Wrong! Nowadays, the image of a vampire is a handsome, polite, and loving person who protects humans. The new cultural phenomenon Twilight is building a new degrading image for vampires that slaps the face of all previous authors, directors, writers, etc. who contributed to giving the monster its unique image in the past.