Kiss of the Vampire film poster (1963)

Historically, 1963 saw the early stages of what.
‘Beatlemania’ and the so-called ‘swinging sixties’, the assassination of JFK and the Soviet Union launching the first woman into space.
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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
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The gloomy grey, black and brown colour palette reinforces the film’s...
dark, scary conventions while the red highlight colour draws attention to the attacking bats, the vampire and the blood – all key visual signifiers for the genre.
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Neale argues that audience pleasures are derived from generic repetition and difference.
This film poster repeats much of the symbolism associated with Hammer and Universal horror films
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Neale argues that audience pleasures are derived from generic repetition and difference.
adds difference through the connoted power of the female protagonist and the implied romantic narrative.
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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,
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The gesture code of the woman on the left is that of the stereotypical what?
passive victim of the ‘monster’, his power highlighted by the fact that he’s holding her by just one arm.
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David Gauntlett’s theory of identity – perhaps the female vampire acts as a what?
a role model for women struggling against male oppression or desperate to be seen as the equals
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Liesbet Van Zoonen’s feminist theory – by assuming this ‘co-antagonist’ role...
The female vampire is perhaps contributing to social change by representing women in non-traditional roles
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Other cards in this set

Card 2

Front

The capitalised, serif font of The title creates connotations linked to the vampire film genre

Back

with its ‘wooden’ styling (referencing the vampire’s coffin or the stake needed to kill him

Card 3

Front

The gloomy grey, black and brown colour palette reinforces the film’s...

Back

Preview of the front of card 3

Card 4

Front

Neale argues that audience pleasures are derived from generic repetition and difference.

Back

Preview of the front of card 4

Card 5

Front

Neale argues that audience pleasures are derived from generic repetition and difference.

Back

Preview of the front of card 5
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