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Note: This article was written for a special issue in Bulletin of National Museum of History No. 253 to accompany the exhibition "Dracula: The History and Art of Vampires" at the NMHT (Jul 5th ~ Oct 5th, 2014). The author analyzes Francis Ford Coppola's Bram Stoker's Dracula (1992) from the perspective of cinema as medium and text, and explores how this film liberates the dualism of good and evil that used to persist in vampire stories.
Film still from Francis Ford Coppola, Bram Stoker's Dracula, 1992.
德古拉與米娜在倫敦街頭初次相遇後相偕去看電影的片段(註1)。
Robert W. Paul拍攝維多利亞女王的加冕60周年慶祝遊行的攝影機; http://blog.nationalmediamuseum.org.uk/robert-w-paul-cinematograph-camera-30th-birthday-countdown/
Robert W. Paul拍下的遊行畫面如今仍在倫敦的肯辛頓皇宮內展出
Film still from Francis Ford Coppola, Bram Stoker's Dracula, 1992.
重生後的王子/ Film still from Francis Ford Coppola, Bram Stoker's Dracula, 1992
半人半獸的魔鬼等多重形象出現/ Film still from Francis Ford Coppola, Bram Stoker's Dracula, 1992.
