Daughters of DarknessPub Date : 2020-06-30DOI: 10.3828/liverpool/9781800348295.003.0002
Kat Ellinger
{"title":"Brides of Dracula","authors":"Kat Ellinger","doi":"10.3828/liverpool/9781800348295.003.0002","DOIUrl":"https://doi.org/10.3828/liverpool/9781800348295.003.0002","url":null,"abstract":"This chapter offers up a comprehensive production history of the film. It includes exclusive interviews from director Harry Kümel and star Danielle Ouimet, as well as a rundown of several aspects of the production process. The chapter begins by laying out the profiles of each major actor involved in the production, including Ouimet's co-stars Delphine Seyrig, John Karlen, Andrea Rau, and the supporting cast. It then turns to the filming of the piece, showing how the director's practical way of working with a team of actors, who were motivated from a more emotional artistic place, caused difficulties on set, especially for the less-experienced performers like Ouimet. The two separate locations used for the film are also explored, as well as the ways in which they are seamlessly blended together into a single place. Finally, the chapter touches on the score composed by François de Roubaix.","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130052502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Daughters of DarknessPub Date : 2020-06-30DOI: 10.3828/liverpool/9781800348295.003.0006
Kat Ellinger
{"title":"Epilogue","authors":"Kat Ellinger","doi":"10.3828/liverpool/9781800348295.003.0006","DOIUrl":"https://doi.org/10.3828/liverpool/9781800348295.003.0006","url":null,"abstract":"This concluding chapter provides further quotes from director Harry Kümel, which illuminate the prospect of a contemporary sequel to his original 1971 film. It also expounds on the sense of pessimism and cynicism rife in vampire cinema of the 1970s. Daughters of Darkness has an allegiance to many of these films in the way in which it channels the cultural climate of the period and gives vampirism a modern slant. Furthermore, the film's heritage angle directly links to a trend evident in some of the other genre cinema of the period, especially that which critiqued capitalist and class-driven facets of society. The chapter also includes a brief analysis on the lesbian vampire films that followed much later on, into the 1980s and beyond.","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123682876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Epilogue","authors":"","doi":"10.2307/j.ctv13842qn.8","DOIUrl":"https://doi.org/10.2307/j.ctv13842qn.8","url":null,"abstract":"","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116560063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vampyros Lesbos","authors":"Kat Ellinger","doi":"10.2307/j.ctv13842qn.5","DOIUrl":"https://doi.org/10.2307/j.ctv13842qn.5","url":null,"abstract":"This chapter compares and contrasts, as well as analyses, aspects of the film against its peers and contemporaries within the wider playing field of lesbian vampire cinema in general. It argues that the brilliance of Daughters of Darkness lies in the way it plays with Gothic tradition, embraces the essence of French Fantastique, and the fact it takes advantage of the erotic film market and loosening of censorship. All these serve to not only thrill audiences, but provide them with a film that delivers plenty of substance and subtext. As a lesbian vampire film, above all other things, Daughters of Darkness has a direct connection to literary tradition, as well as to an entire canon of lesbian vampire cinema, which developed from the early 1930s up until the 1970s. The chapter examines some of those cinematic connections to see where the film fits with its peers and contemporaries.","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115936178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Brides of Dracula","authors":"M. Jarvis","doi":"10.2307/j.ctv13842qn.4","DOIUrl":"https://doi.org/10.2307/j.ctv13842qn.4","url":null,"abstract":"The legendary Dr. Van Helsing and his human Hirelings are attempting to stake six slumbering Brides of Dracula. They must hurry, for the Brides are waking, and the Count himself is almost certainly nearby... This will be a tough fight, for only Van Helsing can actually kill the Count. The Prince of Darkness, on the other hand, must decide whether to dedicate his fearsome presence to Van Helsing or protecting his defenseless Brides!","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122880242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Twins of Evil","authors":"Kat Ellinger","doi":"10.2307/j.ctv13842qn.7","DOIUrl":"https://doi.org/10.2307/j.ctv13842qn.7","url":null,"abstract":"This chapter contextualises Daughters of Darkness within a framework of vampire, Gothic, and decadent literature. It also discusses the literary and mythic origins of the female vampire and how these have been applied to the characterisation of Countess Elizabeth Bathory in the film. Even though the director states he was not looking to books like Sheridan Le Fanu's Carmilla to inform him when he wrote the screenplay for the film, he does admit to having read it. Therefore, it is not surprising that some parallels can be made between the film and Le Fanu's text. Additionally, Daughters of Darkness not only shares an affiliation to the likes of Carmilla, ancient myth, and some of the earliest examples of female vampires in literature, but it also delves into the territory of fin de siècle decadent writers, in particular Charles Baudelaire, Jean Lorrain, and Jules Barbey d'Aurevilly.","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130809750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Countess Dracula","authors":"Kat Ellinger","doi":"10.2307/j.ctv13842qn.6","DOIUrl":"https://doi.org/10.2307/j.ctv13842qn.6","url":null,"abstract":"This chapter probes into the history surrounding the real life serial killer Countess Elizabeth Bathory. It also unveils several filmic interpretations of her story, with a view to establishing just where Daughters of Darkness fits into the overall body of work concerning the infamous 'Blood Countess'. Outright aggressive, cruel, and violent women have always been something of a taboo subject throughout Western culture. The chapter considers the challenges of portraying a female killer, as doing so can step right into realm of the taboo, which makes people uncomfortable. It is perhaps because of this that Bathory has not enjoyed as much celebration on screen as her male counterpart Dracula; himself in part said to be inspired by historical figure Vlad Tepes, otherwise known as 'Vlad the Impaler'. The chapter concludes with an analysis of the sadist and class themes inherent in Kümel's film.","PeriodicalId":324399,"journal":{"name":"Daughters of Darkness","volume":"188 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131838323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
求助内容：
应助结果提醒方式：