Kiss Of The Vampire Flashcards

(30 cards)

1
Q

Which production company produced KOTV

A

Hammer films

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2
Q

Who was KOTV distributed by

A

UNiversal and Rank organisation

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3
Q

What is KOTV a sequel to

A

1958 Dracula

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4
Q

When was KOTV released

A

1963

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5
Q

Historical context of the 60s for KOTV

A

DOctor Who, Marvel comics, Womens Lib and the pill on the NHS

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6
Q

How can Levi Strauss’s binary oppositions be linked to KOTv

A

Romantic connotations of kiss as opposed to stereotyhpical vampire

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7
Q

In terms of codes and conventions, what font is used and what is its impact kotv

A

Serif - capitalised, wooden - vampire genre connotations of coffin and stake

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8
Q

What does the colour pallete of KOTV imply

A

Greys, blacks and brown reinforce the films dark and scary conventions
Red draws attention to attacking bats and vampires link to blood

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9
Q

What is an example of semantic codes in the KPTV ad

A

Conventional associations of bats with vampirism and horror

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10
Q

How are symbolic codes of horror, darkness and fear reinforced in this advert

A

The moon is a common signifier for the genre and gesture codes of the victims

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11
Q

What are the adverts stererotypes kotv

A

Older ideas that women are passive victims of men

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12
Q

What are the adverts dress codes KOTV

A

Womens pale dresses of light materials highlight curves of bodies and reveal flesh - vulnerabiltiy and sexualisation

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13
Q

What are interesting about adverts gesture codes KOTV

A

Both men and women are shown as dominant individuals

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14
Q

How can Stuart Halls theory of representation be linked to this adverts iconogrpahy kotv

A

Generic iconography of horror is expected to be decoded by the audience, such as the images of castles, bats etc

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15
Q

What does iconography mean

A

The visual images and symbols used in a work of art

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16
Q

How can Gauntletts theory of identity be linked to the KOTV ad

A

Idea that female vampires act as role models for women struggling against oppresion

17
Q

What can the male victims gesture codes be described as

A

A ‘submissive sacrifice’ gesture code

18
Q

What were the 3 key aims of the 60s womens lib movement

A

Equal pay
End to sexual harrasment
Equaltiy within society in general

19
Q

How does the gesture codes of the female victim emphasise male power in KOTv

A

Her passive victim gesture code highlights the male vmpires power by holding her with one arm

20
Q

How are the female vampires gesture codes unconventional

A

She appears agressive by bearing her teeth - goes agaimst narratives like damsel in distress

21
Q

How is the female vampire represented in 3 words

A

Non stereotypical dominant way

22
Q

How do the male gesture codes in KOTV represent him as uncharacteristiclally fearful

A

His arm is thrown across his body in a defensive gsesture, perhaps protecting himself from the female vampire

23
Q

historical context kiss of

A

assination of jfk
soviet union first woman to space
beatlemania

24
Q

barthes symbolic code kotv

A

horror, darkness and fear widely reinforced throuugh moon and male victim ‘submissive sacrifice’

25
kotv codes and conventions in poster (ie. Font, image)
serif font creates connotations linked to vampire painted image conventional of period gloomy colour palette reinfirces dark conventions with bats and blood
26
stuart hall representation kotv
images of castle bats and blood form part of **SHARED CONCEPTUAL ROAD MAP** that gives meaning to world. audience decode generic iconography.
27
gauntlett theory of identity kotv
female vampire acts as role model for women strugglin with **male oppresion** or wanting to be seen as equals
28
van zoonen kotv
assumes co-antagonist, femlae vampire contributes to social change by representing women in no traditional roles though passive victim reinforces.
29
barthes enigma code kotv
suspense created through **enigma** surroiunding connoted relationship between **male and female vampires and victims fate**
30
barhtes semantic code kotv
applied to images of bats and conventiuonal association with vampirism and general horror.