Kiss Of The Vampire Flashcards
Apply semiotics to KOTV
Most of the media language elements present follow the conventions of the monster movie genre and can be suggested to be either semantic or symbolic codes.
For example, visual codes of blood vampires and bats all out the genre of the monster movie. These connotations are anchored by the colours present the dark grace suggest a gloomy eerie location and tone for the film which is conventional of the genre. The colour red can have connotations of danger which connects the visual signifies of the bat attacking the people and the blood. It could also canoe romance suggested through the use of in the films title. in addition the poster contains elements of the hermeneutic code.
The poster creates suspense surrounding the vampires as their position positioning and the film title creating enigma codes about their relationship
Apply Stuart hall to the female vampire in KOTV
Stuart Hall argues that stereotypes are primarily means of reinforcing why does social power. Kiss of the vampire deploys a number of gender based stereotypes that helps to reinforce a passive and objectified view of women which clearly prevents women empowerment. The right hand female is constructed as a femme fatale stereotype through over sexualised visual codes - black hair, red lips, commanding presents over the week male counterpart which is instantly recognisable to the contemporary audience, causing a vilification of female power.
Apply Stuart hall to the female on the left
She is juxtaposed against the vampire as the socially acceptable female ideal, a disempowering dumb blonde stereotype. The poster reflects powerlessness of women. Readers are led to internalise the gender model offered as the fixed or natural state.
Apply hall to KOTV
Hall argues that representations contribute to our shared conceptual map through the reinforcement of stereotypes and iconography. The body language of the woman on the left contributes to each individuals conceptual map. When the signs are continually reproduced a shed contextual map will be formed and those representations will tend to maintain the belief of women in society. However the challenging representations will shift these representations and its likely expectations will change surrounding women in control positions of power. By featuring the measles son of a male character on his knees in the foreground, the poster contradicts the stereotypical assumption that only women are victims. Furthermore, the unconscious man is being victimised by a female vampire which is highly atypical. By breaking stereotypes the film may potentially appeal to a much wider audience. The facial expression of the female vampire is aggressive which suggest she is empower. Additionally, her facial expression is particularly unflattering and subverts hegemonic expectations of female attractiveness. The vampire is a subversive representation of women. By depicting a woman attacking a man it is an example of challenging patriarchal hegemonic values.
Apply gilroy to kiss of the vampire
Gilroy argues black communities were marginalised as a result surrounding anxieties of immigration during 1960s. Lack of any black presents reaffirms the marginal position of black communities in mainstream society during the period. This reinforces societies unwritten racial hierarchy.
Apply Gauntlett to KOTV
He suggests our identities are constructed through the media we consume and the representations that are present.
So the kiss of the vampire poster suggest that the dominant female will act as a representation for women fighting the oppression of the male.
Also the poster can contribute to many female identities of that period who were fighting for equality in the workforce
Apply van zoned to kiss of the vampire
Van Zoonen would refer to the way in which women are depicted in the poster as a spectacle. Both are young conventionally attractive white women dressed in alluring clothing that is seemingly to invite the attention both of the men in the film and the assumed male audiences being a film in the 1960s when attitudes towards women were still openly sexist and the representations and films were reflective of this. The poster strays slightly from the conventional spectacle as one of the women is portrayed to be physically powerful as well and both male characters are seem to be weak or cowardly through the physicality. This is unconventional of horror films of the time where women were predominantly depicted as pray for a monster who was often coded as being masculine. Even though unconscious, she is thrusting her exposed cleavage forward a clear example of sexualisation. Women are often sexualised in media products for financial purposes as this allows the product to target heterosexual male audiences.
