Kiss of the Vampire
!
8
"
B
I
Representation: Theoretical approaches:
Stuart Hall's Theory of Representation
• The Images of a castle, bats, the vampire's cape and dripping blood
. Both women wear pale dresses made of light form part of the "shared conceptual road map" that give meaning to the
materials and these dress codes serve to "world" of the poster. The audience is actively encouraged to decode this
reinforce their femininity by highlighting the familiar generic iconography.
cur ves of their bodies and revealing the flesh
David Gauntlett's Theory of Identity
of their upper chests and arms (objectifying • Perhaps the female vampire acts as a role model for women struggling
them sexually). against male oppression or desperate to be seen as the equals of men,
whatever the narrative or environment.
. The gesture code of the woman on the left is
that of the stereotypical passive victim of Liesbet Van Zoonen's Feminist Theory
the monster, his power highlighted by the • By assuming this 'c o-antagonist role, the female vampire is perhaps
fact that he's holding her by just one arm contributing to social change by representing women in non-traditional
roles (Van Zoonen, 1989) though the passive female victim does
reinforce these.
. Baring her teeth and with her arm raised
almost fist like as she's being bitten by the Judith Butler's Gender Performativity
bat, the second woman's gesture codes are • Evidence of fluid gender roles - male becomes the victim and female the
more aggressive, and the submissive pose of villain / monster. Notice the adaption of male performance traits
her male ‘Victim’ (induding being on his knees within the representation of the female vampire in the form of physical
with his head back and throat exposed) and sexual active aggression.
represent her in a non stereolypically
Laura Mulvey's Male Gaze
dominant way. • The poster is clearly meant to be read as if from the positioning of a
heterosexual male- clearly illustrated by the sexualisation /
. Through this imagery it is stated that the objectification of both female characters within it. Even in the case of
poster itself challenges dominant ideologies the 's cary' female antagonist, she Is more defined by her lack of clothing
(in 1963) in regards to gender as it is than her aggressive behaviour. Note how she is dressed and her posture -
symbolic of the evolving gender politics at all aiding in the emphasis of her naked shoulders and noticeable breast
the time. Is the physical fight for domination area.
bet ween male and female vampire in the
poster symbolic of 1960's societal struggles
bet ween the sexes?
Writing structure:
• Introduction
Start from the relevant representation theory and explain what the
• The vampire himself seems
representations are and how they are similar or different.
uncharacteristically fearful in his gesture Each paragraph should then explain what, how and why. with a link back to
codes with his arm thrown across his body in the theory and the comparison text.
a defensive gesture, perhaps protecting
himself from the female vampire. • What
• His eye contact is both fearful and fixed Explain the representation you want to discuss. eg; the woman on the right
purely on the female vampire, suggesting contrasts with the woman on the left, giving us a more complex
both her dominance and his 'lack of control understanding of the role of women.
over her, signifying the rise of female • How
expression in a previous male Describe in detail the media language that creates the representation. If you
dominated / controlled society. can refer to the combination of elements - even better.
• Notice he is also leaning back to escape her
ferocious and empowered nature - he is no • Why
longer comfortable being in her close Discuss the producers intentions and how this supports or challenges the
proximity. relevant theory.
The times are changing and this ancient
• Comparison
'beast (representing man perhaps?) is not Is this similar or different to the other text?
comfortable with the scenario.
!
8
"
B
I
Representation: Theoretical approaches:
Stuart Hall's Theory of Representation
• The Images of a castle, bats, the vampire's cape and dripping blood
. Both women wear pale dresses made of light form part of the "shared conceptual road map" that give meaning to the
materials and these dress codes serve to "world" of the poster. The audience is actively encouraged to decode this
reinforce their femininity by highlighting the familiar generic iconography.
cur ves of their bodies and revealing the flesh
David Gauntlett's Theory of Identity
of their upper chests and arms (objectifying • Perhaps the female vampire acts as a role model for women struggling
them sexually). against male oppression or desperate to be seen as the equals of men,
whatever the narrative or environment.
. The gesture code of the woman on the left is
that of the stereotypical passive victim of Liesbet Van Zoonen's Feminist Theory
the monster, his power highlighted by the • By assuming this 'c o-antagonist role, the female vampire is perhaps
fact that he's holding her by just one arm contributing to social change by representing women in non-traditional
roles (Van Zoonen, 1989) though the passive female victim does
reinforce these.
. Baring her teeth and with her arm raised
almost fist like as she's being bitten by the Judith Butler's Gender Performativity
bat, the second woman's gesture codes are • Evidence of fluid gender roles - male becomes the victim and female the
more aggressive, and the submissive pose of villain / monster. Notice the adaption of male performance traits
her male ‘Victim’ (induding being on his knees within the representation of the female vampire in the form of physical
with his head back and throat exposed) and sexual active aggression.
represent her in a non stereolypically
Laura Mulvey's Male Gaze
dominant way. • The poster is clearly meant to be read as if from the positioning of a
heterosexual male- clearly illustrated by the sexualisation /
. Through this imagery it is stated that the objectification of both female characters within it. Even in the case of
poster itself challenges dominant ideologies the 's cary' female antagonist, she Is more defined by her lack of clothing
(in 1963) in regards to gender as it is than her aggressive behaviour. Note how she is dressed and her posture -
symbolic of the evolving gender politics at all aiding in the emphasis of her naked shoulders and noticeable breast
the time. Is the physical fight for domination area.
bet ween male and female vampire in the
poster symbolic of 1960's societal struggles
bet ween the sexes?
Writing structure:
• Introduction
Start from the relevant representation theory and explain what the
• The vampire himself seems
representations are and how they are similar or different.
uncharacteristically fearful in his gesture Each paragraph should then explain what, how and why. with a link back to
codes with his arm thrown across his body in the theory and the comparison text.
a defensive gesture, perhaps protecting
himself from the female vampire. • What
• His eye contact is both fearful and fixed Explain the representation you want to discuss. eg; the woman on the right
purely on the female vampire, suggesting contrasts with the woman on the left, giving us a more complex
both her dominance and his 'lack of control understanding of the role of women.
over her, signifying the rise of female • How
expression in a previous male Describe in detail the media language that creates the representation. If you
dominated / controlled society. can refer to the combination of elements - even better.
• Notice he is also leaning back to escape her
ferocious and empowered nature - he is no • Why
longer comfortable being in her close Discuss the producers intentions and how this supports or challenges the
proximity. relevant theory.
The times are changing and this ancient
• Comparison
'beast (representing man perhaps?) is not Is this similar or different to the other text?
comfortable with the scenario.
