There are many film adaptations of Bram Stoker’s Dracula; many, of course, that are rubbish. If you need fresh blood and your faith restored that there is still life to be drained from the vampire trope, here are ten recommendations for films that rework Stoker’s vampire in innovative and inventive ways.
The most famous of all vampire stories, Dracula is a mirror of its age, its underlying themes of race, religion, science, superstition, and sexuality never far from the surface. In the video below Roger Luckhurst, editor of the Oxford World’s Classics edition of Dracula, talks about why we’re still enthralled by the original novel.
By Roger Luckhurst
As Lisa Morton notes in her excellent Trick or Treat? A History of Halloween (2013), our annual festival of spooks is a typical result of messy history and cultural confusion. It entered modern English culture as a misunderstanding of the three-day Celtic new year celebration in Ireland, which started at sunset on the 31st of October, to mark summer’s end.
By Roger Luckhurst
There is a very specific language of Gothic and horror literature that has its roots buried deep in the history of English: doom has been around since Old English; dread carries over from Middle English; eerie, that sense of vague superstitious uneasiness, enters Middle English through Scottish. The adjectives are harsh and guttural: moons are always gibbous, the trees eldritch.
In the winter of 1922-23 archaeologist Howard Carter and his wealthy patron George Herbert, the Fifth Earl of Carnarvon, sensationally opened the tomb of Tutankhamun. Six weeks later Herbert, the sponsor of the expedition, died in Egypt. The popular press went wild with rumours of a curse on those who disturbed the Pharaoh’s rest and for years followed every twist and turn of the fate of the men who had been involved in the historic discovery. Long dismissed by Egyptologists, the mummy’s curse remains a part of popular supernatural belief. We spoke with Roger Luckhurst, author of The Mummy’s Curse: The true history of a dark fantasy, to find out why the myth has captured imagination across the centuries, and how it has impacted on popular culture.
By Roger Luckhurst
You must surely have been tempted on occasion to curse Julian Fellowes, if not for the script of Young Victoria, then for the creation of Downton Abbey, that death star of good old-fashioned aristocratic virtue and due deference. For a little while, all public debate seemed to be sucked through the funnel of Downton discourse, coinciding as it did with the election of all those shiny Eton boys to government in 2010. But don’t worry: he may already be cursed.
By Roger Luckhurst
Bram Stoker was always a man in the shadows, the back-room boy who for thirty-years had organised the life and finances of the greatest actor of his age, Sir Henry Irving. Stoker’s death one hundred years ago today, on the 20th April 1912, conformed to type: it was utterly eclipsed by a much larger catastrophe. He died quietly at home only five days after the R. M. S. Titanic hit an iceberg and sank with the loss of 1500 lives.
The most famous of all vampire stories, Dracula is a mirror of its age, its underlying themes of race, religion, science, superstition, and sexuality never far from the surface. Here is a sequence of podcasts with Roger Luckhurst, who has edited a new edition of Dracula for Oxford World’s Classics, recorded by George Miller of Podularity.
The first book H. G. Wells published, The Time Machine is a scientific romance that helped invent the genre of science fiction and the time travel story. Even before its serialization had finished in the spring of 1895, Wells had been declared “a man of genius,” and the book heralded a fifty year career of a major cultural and political controversialist.
When a mysterious benefaction takes Young Pip from the Kent marshes to London, his prospects of advancement improve greatly. Yet Pip finds he is haunted by figures from his past: the escaped convict Magwitch; the time-withered Miss Havisham and her proud and beautiful ward Estella; his abusive older sister and her kind husband Joe. In time, Pip uncovers not just the origins of his great expectations but the mystery of his own heart.
We’re just over a fortnight away from the end of our second season of the Oxford World’s Classics Reading Group. It’s still not to late to join us as we explore the foggy streets of Victorian London in search of the King of Vampires! If you’re already stuck in with #OWCReads, these discussion questions will help you get the most out of the text.
Although occultists like the antiquarian Montague Summers would like to claim that the belief in vampires is global and transhistorical (and therefore probably true), the vampire is a thoroughly modern being. Like the Gothic genre itself, stories of vampires emerge in the Age of Enlightenment, as instances of primitive superstition that help define the rational scepticism of northern, Protestant Europe.
Tales of vampire-like creatures, demonic consumers of human flesh and blood, have permeated the mythology of almost every culture since the dawn of time. Yet while the vampire as we now know him became a popular source of folklore terror in Eastern Europe in the 17th and 18th centuries, it was not until 1897 that Bram Stoker introduced the world to the most famous vampire of all.
By Kirsty Doole
Last week the Oxford World’s Classics team were at Blackwell Bookshop in Oxford to witness the first Oxford World’s Classics debate. Over three days we invited seven academics who had each edited and written introductions and notes for books in the series to given a short, free talk in the shop. This then culminated in an evening event in Blackwell’s famous Norrington Room where we held a balloon debated, chaired by writer and academic Alexandra Harris.
We are delighted that this year Oxford World’s Classics will be sponsoring Oxford theatre company Creation Theatre’s production of Jekyll and Hyde, which is taking place at another Oxford institution – Blackwell’s Bookshop – from 8 June to 6 July. To celebrate our partnership, we asked the production’s Director, Caroline Devlin, for her thoughts on Robert Louis Stevenson’s classic novel Strange Case of Dr Jekyll and Mr Hyde.
The long-awaited third season of Game of Thrones premiers on HBO 31 March 2013 and Oxford University Press has everything you need to get ready, whether you’re looking to brush up on your dragon lore, forge your own Valyrian steel, or learn about some of the most dramatic real-life succession fights culled from our archives.