Titlebook: Vampires on the Silent Screen; Cinema’s First Age o David Annwn Jones Book 2023 The Editor(s) (if applicable) and The Author(s), under excl

FEIGN

Nonthreatening

Counterfeits and , scrutiny, prove to be ‘counterfeits’ in terms of any real connection to supernatural bloodsuckers. Turning then to Robert Wiene’s ., the discussion examines Fern Andra’s dramatic role as a Goddess vamp, priestess of a ‘Defeated Tribe’ and her savage desire to witness the spilling of her victims’ bl

不自然

,F. W. Murnau’s , Carrington’s Fire Elemental and Kober’s Lilith, as one of a group of primary cinematic evocations of demonic vampires from 1916 to 1922. It can also be viewed in context with two previous engagements with Stoker’s Dracula: Count Merlin and the asylum inmate of .. This chapter contains the first det

chemical-peel

弄皱

Electrolysis

,The Blood-Demon and the Scientist: Erich Kober’s , / , (1919),ent, idealisation and substitution are to the fore, as are notions of fetishization and Post-Colonial discourse. The importance of contemporary sexual crises and ideologies in Lang’s Vienna and their implications for the film are also discussed.

你正派

,Dreaming in the Madhouse Károly Lajthay’s , / , (1921), the lunatics continuously threaten to take over the asylum. Serious consideration is also given to the psychological and fairy-tale aspects of this Drakula, weighing up the evidence and contrasting his terrifying, grandiloquent fantasies with his pitiful mortal fate.

寻找

道学气

palpitate