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The facial expression of the female vampire is aggressive, which suggests she is in power. Additionally, her facial expression is particularly unflattering, and subverts hegemonic expectations of female attractiveness. This is a subversive representation! White color of title is used to contrast darkness of main image. May potentially link to innocence of victims. Victim woman is draped unconscious in the arms of the antagonist which constructs him as both stronger and more masculine, which reinforces a stereotypical 1960's stereotype of the roles of men and women Shows a patriarchal society as 2 men are leading their armys. Iron Man and Captain America are both the furthest forward in the poster which shows that they are the most important people in the film. Could also link to the politics are its usually the Red party vs the Blue party being led by men. Despite the power of the femme fatale, their presence in media texts conventionally signfifies a vilification of female power. Certainly, the KOTV female fatale’s contorted facial gestures and dominance combined to outline her as a negative role model for female audiences of the period.
Gesture of male vampire (hand clasping waist) could be symbolic of sexual assault. Ye the male vampire's face is scared and confused, constructing a powerful hermeneutic code for the target audience From the context of the 1960's , the woman's costumes are somewhat revealing, with a big focus on breasts and cleavage The UK in the 1960s had extremely strict censorship laws. Rigby, Jonathan (July 2000). English Gothic: A Century of Horror Cinema. Reynolds & Hearn. ISBN 978-1903111017. OCLC 45576395.The vampire himself seems uncharacteristically fearful in his gesture codes with his arm thrown across his body in a defensive gesture, perhaps protecting himself from the female vampire. MES of the male vampire's face is one of fear. This is highly atypical of a conventional vampire film where vampires are typically represented as evil and fearless x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster. The capitalised, serif font of the title creates connotations linked to the vampire film genre with its ‘wooden’ styling (referencing the vampire’s coffin or the stake needed to kill him perhaps) and the blood dripping from the letter V’s ‘fang.’- vampire iconography.
Films represent social fears as male vampire character looks scared and women has power over man on right. Through facial expression and body language she looks more powerful and aggressive. This could reflect male concerns at the time that the role of women was changing significantly and this could be a threat the the status-quo of a male dominated world. The Tide advert, produced in the 1950's, shows a woman dressed as a stereotypical house wife hugging a box of Tide washing power. Barthes’ theory of semiotics can be applied. Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires and the fate of their two victims. Semantic code could be applied to the images of the bats and their conventional association with vampirism and horror in general. The symbolic codes of horror, darkness and fear are more widely reinforced through signifiers such as the male victim’s gesture code. It was Sharp's first movie for Hammer. He went on to make several more films for the company. [1] Plot [ edit ]
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the images of a castle, bats, the vampire’s cape and dripping blood form part of the “shared conceptual road map” that give meaning to the “world” of the poster. The audience is actively encouraged to decode this familiar generic iconography. Films often reflect societal concerns- this reflects the males concerns that the role of women was changing significantly and this could be a threat to the status quo of a male dominated world. Male vampire has a terrified expression, which is a clear subversion of genre conventions and subverts the stereotype that men are strong, powerful and active MES of the female victim's costume is highly polysemic and can connote both stereotypically sexualised and innocent. The Gerald and Marianne (Edward de Souza and Jennifer Daniel) are uneasy guests in The Kiss of the Vampire (Hammer 1964)
The 1960s is often seen as the start of women’s sexual liberation, aided by events such as the introduction of the contraceptive pill in 1960. More women than ever were entering the paid workforce and sixties feminists were campaigning for equal pay, an end to sexual harassment and more equality between men and women in wider society. In America, equal pay legislation was passed in 1963.What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd." [2] Barber, Ryne (30 June 2020). "Kiss of the Vampire Blu-ray Review (Scream Factory)". Cultsploitation. Archived from the original on 9 July 2020 . Retrieved 10 July 2020. Generic fluidity: this sexy vampire film has evolved in to far more explicit erotic and romantic vampire films of the present day
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