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RUBIKON Volume 3 / Number 2 September 2016

REFORMULATING IN THE EARLY 21ST CENTURY: GENRE ANALYSIS OF 24 FILMS

Nofiyanti Fuanda Pusat Pelatihan Bahasa UMY, Yogyakarta [email protected]

Abstract

The vampire is a phenomenon in literature and culture. As many literary works featuring vampire are produced every year and continue to interest of the audiences, the creature becomes even embedded in the heart of not only western people, but also most people in the world. Currently, the researches on the creature either as a part of the or a character in literary works is so booming. They conclude that there is transformation of vampire both in myth and literary work. The research on literary works mostly generalizes vampire and Dracula as similar terms referring to blood sucker in general. In fact, those two terms actually refer to different signifieds. Therefore, this research aims to discuss specifically the development of literary works, especially films featuring the Dracula character since Stoker’s story is still adapted in the current era. The discussion focuses on the conventions and inventions of Dracula films in the early twenty first century and how those new formulas are related to the social background. This research is qualitative research and data are collected from the library. In addition, the basic theory used is genre analysis which situates texts within textual and social contexts. In the field of American Studies, such analysis is relevant to McDowell’s theory of “past, present and future” which supports interdisciplinary studies of time development. As the finding of the research on twenty four films produced during 2000 to 2014 the researcher concludes that most of them mix the elements of some genres. There are eleven pure horror Dracula films, eight horror action, two horror drama, one horror adventure, one horror sci-fi, and one horror romance. Furthermore, the researcher found five formula inventions including: 1. the shifting themes which include the emergence of science and the blurring of sexuality; 2. the variation of the stereotypical characters which includes the turn of the villain into and the challenge of women as heroes; 3. the changing motive; 4. the variation of setting, and 5. the replacement of properties. In the further analysis, the development of the formulas is certainly the result of the mixing genres, and also the response to two major issues flourishes in today’s era such as the issue of modernity and rationality and the phenomenon of ‘New Women’ and ‘Now Women.’

Keywords: vampire, Dracula, formula, convention, invention

Introduction country has its own version of the creature as well as the story which is deeply The myth of is very popular attached to each culture. The vampire myth among people in the world since almost all in China for example is told as a living countries have a vampire-like creature-a corpse rising from the coffin and hooping blood drinker-as a myth in their culture. (Melton, 2011, p. 127). Another example, The myth is claimed to have come from in Indonesia, the vampire-like creature is Europe, especially Greece and Romania, well known as a “Sundal Bolong” but no one has made certain since every (hollowed bitch)-a female vampire who

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sucks baby’s blood. Europe and America, era, but its popularity as a subject of on the other hand, have similar versions of literature. The existence of the myth in the the vampire myth. Europeans as well as literary works has created hysteria in the Americans believe are: past and present in many places all over the world, especially in Europe and …basically creatures of the night, America because of the massive and during the day they enter a production of books, films, and other coma-like vampire sleep. They literary works featuring the blood sucker, have red eyes and are cold to the especially after the booming of the first touch. They may not be able to , Dracula (1931) which was enter a room until invited. In written an adaptation of Stoker’s novel addition, vampires possess some with a similar title. unusual “supernatural” attributes. They have great strength, they can The vampire films beginning with Bram fly (or at least levitate), they Stoker’s Dracula in 1931 to those possess a level of hypnotic power appearing in the late twentieth century (thus forcing the compliance of such as House of (1997) are victims or causing the considered the first hysteria of the forgetfulness of the vampire’s in literature. The further presence)…(Melton, 2011, p. 119). hysteria was after the release of some films such as (1998), Dark Prince: The Regardless of its variety, the major idea True Story of Dracula (2000), and that certainly motivates the existence of Interview with the Vampire (2006) which almost all of the is the fact of life brings about a different formula of vampire and death. The creature is the product of films in general. Blade (1998) is popular people’s fear of the possibility of the dead because it shows since it introduces the body coming back to the previous life issue of race with a vampire as the because human tend to think of the bad main character; Dark Prince: The True side of the binary (Baresford, 2008, p. 9). Story of Dracula (2000) is popular because He further argues that “one might say that it shows a historical Dracula; and fear of the vampire’s existence is more Interview with the Vampire (2006) is important than its actual existence” (Ibid). famous because its human-like vampire.

Thus, the vampire exists because humans Following the transformation of vampire began to question whether such a is films in general as mentioned in the real. As the fear of the vampire is grows, previous paragraph, some studies find the so does the existence of the creature in phenomena of demystification and human’s mind. He adds that “as much as domestication of vampires in the late one dismisses the vampire, there is twentieth and the early twenty first curiosity buried deep in the mind, a desire century, for example a thesis done by to explore the mysteries of the Elisabeth Johansson titled A Domesticated inexplicable” (Baresford, 2008, p. 10). It is Vampire (2010) discusses the that factor has allowed the vampire to transformation of the vampire character survive throughout the ages, because the from a supernatural being like Dracula in mystery has not and possibly never been Dracula (1931) into a nearly human answered, and people keep exploring it. creature in the case of Edward in The Saga (2008-2012). However, the Nevertheless, it is neither the history of the previous research generalizes all vampire myth nor the narrative which is considered films, and mostly focuses only on significant to be researched in the current analyzing the vampire characters. In fact,

47 Nofiyanti Fuanda — Reformulating Dracula in the Early 21st Century: Genre Analysis of 24 Vampire Films

in the very basic categorization, based on In search for answers to the questions the character, there are two divisions of above, this research specifically works on vampire films including vampire films the development of formula structure of with a Dracula character and vampire films the early twenty first century Dracula films with a non-Dracula character. as genre films-films in which formula is Nevertheless, vampire films with a typical. The research applies historical or Dracula character have their own formulas, genre analysis which aims to seek an which now already have their own specific understanding of the formula development audiences. They are the Dracula lovers, not of a genre in relation to the social the blood sucker fans. Thus, a study on the background. The data of this research specific division is certainly important as a includes Dracula films in the year 2000 to continuation of the previous studies. 2014 including Therefore, this research aims to study the (2000), Dark Prince: The True Story of development of Dracula films specifically Dracula (2000), (2000), related to, whether or not the development Helsing (2004), Dracula 3000 (2004), The of both the formulas in general and the Batman vs. Dracula (2005), Dracula character in particular are in line with the (2006), Billy & Mandy's Big Boogey development of vampire films in general. Adventure (2007), Dear Dracula (2012), In addition, this research also aims to Hotel (2012), Saint Dracula understand the social and cultural 3D (2012), (2012), condition which is possibly related to the Dracula: The Dark Prince (2013), and development. (2014). The secondary data, however, includes other Dracula The importance of the specific study of the films which are not internationally development of vampire films featuring published such as Dracula: Pages from Dracula is: first, Dracula films, although Virgin's Diary (2002), Dracula II: they can be considered vampire films are Ascension (2003), Dracula III: Legacy developed independently with their own (2005), 's Dracula Curse unique formula structure. Rather than (2006), Bonnie & Clyde vs. Dracula focusing on the nature of blood drinking or (2008), (2008), Dracula (2009), the conflict with humans and other House of (2009), Terror of creatures, these films tend to focus on the Dracula (2012), Dracula: The Impaler character itself. Second, vampire in (2013). In addition, Dracula films before literature becomes various in formulas, so 2000, vampire films, and other horror does Dracula. Dracula films recently films in general are also included in the feature other genres like action Dracula data. Untold (2014), (2004), sci-fi Dracula 3000 (2004), and romance Methodology (2012), and fortunately such films get good responses from the This research is qualitative research and audiences. This phenomenon certainly data were collected from the library. challenges the question of what makes the Qualitative approach emphasizes the films interesting for the audiences. Third, qualities of entities, processes and recent films which portray the Romanian meanings that are not experimentally Dracula rather than Stoker’s conventional examined or measured in terms of quantity, Dracula somehow lead to the question of amount, intensity or frequency (Denzin “Have the audiences’ expectations changed and Lincoln, 2000, p. 8). In qualitative recently?” If so, “What kinds of inquiry approaches there are some experiences cause such an alteration?” strategies which can be applied such as Ethnography, Grounded theory, Case

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studies, Phenomenological research, and interpretation with some procedures. In Narrative research. This research applied general, data analysis of qualitative the strategy of grounded theory. Grounded research according to Creswell (2009) theory according to Creswell (2009) is: included, “preparing and organizing the data; reading through all the data; A strategy of inquiry in which the analyzing with a coding process (clustering researcher derives a general, and making categories); generating abstract theory of a process, description, themes and categories; and action, or interaction grounded in interpreting the data” (p. 223). the views of participants. The characteristic of this design is the Findings constant comparison of the data with emerging categories and Dracula films in particular and vampire in theoretical sampling of different general can be categorized as horror, groups to maximize the specifically in the subgenre of gothic similarities and the differences of horror. Gothic horror can be defined as the the information. (p. 37) combination of horror conventions with gothic elements. The genre of horror is so Thus, a grounded theory project typically broad to define, but at its most basic, it does not begin with a theory from which encompasses all stories in which the main hypotheses are deducted, but with a field purpose is to scare the readers (Bailey, of study or a research question, and what is 2005, p. 240). On the other hand, Gothic relevant to this question is allowed to literature according to Baldick and emerge during the research process Mighall, are those which pit contemporary (Bitsch, 2005, p. 77). The researcher heroes against archaic villains to celebrate believes that this design is appropriate for the victory of modernity over tradition, and this research since this design rationality over irrationality (as cited in characteristically opens possibilities for Herley, 2007, p. 234). Therefore, gothic researchers to step back and critically horror can be simply understood as horror analyze situations, to think abstractly, as which has a strong supernatural element well as to be flexible and open to helpful which connects between irrationality and criticism (Glaser, 2006, p. 7). rationality.

In addition, this research is based on the There are several formula conventions of constructivism world view which holds an gothic horror which are mostly similar to assumption that individuals seek the conventions of horror in general understanding of the world in which they including the conventions of the character, live and work. Individuals develop setting, theme, properties, and cinematic subjective meanings of their experiences— techniques. The themes of horror mostly meaning directed toward certain objects or deal with physical and emotional violence things (Creswell 2009, p. 32). Thus, this with the reliance on suspense in the plot worldview opens the possibility for the (Bailey 2005, p. 420). Gothic horror, on researcher to have an interpretation the other hand, often dramatizes the subjectively based on her or his eruption of supernatural and into experiences. Using their perspective, rather normative social and/or domestic context, than starting with theory, the researcher often with an undercurrent of phobic develops it. sexual panic (Langford, 2005, p. 158).

Regarding the method of analysis, this Compared to other horror subgenres, research applied themes pattern gothic horror tends to emphasize the

49 Nofiyanti Fuanda — Reformulating Dracula in the Early 21st Century: Genre Analysis of 24 Vampire Films

elements of the supernatural, while other , there is a scientist. subgenres bring about the theme of Furthermore, although there is a in revenge, haunting, exorcism, and serial both genres, horror and science fiction killers. Furthermore, specifically for differ in the type of the monster. The Dracula films, the major theme is monster in horror is machine or product of contemporary heroes against archaic machines, but in horror the monster is villains to celebrate the victory of humanoid or an aspect of human modernity over the past, rational over the psychology (Grant, 2003, p. 333). irrational (Herley, 2007, p. 234). In addition to the theme, the setting usually Those conventions of horror films fit the takes ruined and isolated places with the early Dracula films which mostly are the atmosphere of moral gloom and physical adaptation of Bram Stoker’s novel. Since decay such as in an old castle or an empty the novel as well as the first unauthorized house (Bailey, 2005, p. 420). Besides, adaptation Nosferartu (1922) and the horror is also identical with its duality of authorized one Dracula (1931) are very setting. There are usually two worlds popular, only a few Dracula films are representing the dark and the light. In the found to have new inventions before the adaptation of Dracula, the two major twentieth century. The most significant settings are the castle which represents the possible reason for this is that the story dark or the past and the real estate which already has its audiences and it is easier to represents the light or the modernity. keep the audiences’ interest by making it addictive rather than bringing something Regarding the characters, the major new to expect the audiences’ satisfaction. formula is the existence of the monster. However, in the twentieth century there Science fiction and tale also have this were some Dracula films made which are convention, but horror is distinct from no longer faithful to Stoker’s formula. those two in other aspects. Horror is Dracula eventually began to leave the distinct from for the setting as horror themed behind and turned into stated by Carroll (n.d.) that: comedy such as in the films titled Dracula: Dead and Loving It (1995) and What appears to distinguish the the Mark of Dracula (1997). horror story from mere stories with , such as fairy tales, In the early twenty first century, Dracula is the attitude of characters in the films became even more various. Based on story to the monsters they chance the 24 Dracula films collected, both upon. In works of horror, the primary and secondary, the researcher humans regard the monsters that finds a lot of Dracula films in the early they encounter as abnormal, as twenty first century which are no longer disturbances of the natural pure horror, but are mixed with other order…In examples of horror, it genres although those which are pure would appear that the monster is horror are still dominant. In detail, there an extraordinary character in our are eleven pure horror Dracula films ordinary world, whereas in fairy including Shadow of the Vampire (2000), tales and the like the monster is an Dracula 2000 (2000), Dracula II: ordinary character in an Ascension (2003), Dracula III: Legacy extraordinary world. (p. 52). (2005), Dracula (2006), Alucard (2008), House of the Wolf Man (2009), Dracula In another case, compared to science (2009), Dracula Reborn (2002), Terror of fiction, according to Kawin, if it is horror Dracula (2002), Dracula: Pages from there is a monster in it; while if it is Virgin's Diary (2002); eight horror action

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including Dark Prince: The True Story of women, and sexuality. Nowadays Dracula Dracula (2000), Van Helsing (2004), The films which vary in genres are found to Batman vs. Dracula (2005), Bram Stoker's still faithfully represent those themes. Dracula Curse (2006), Bonnie & Clyde vs. However, the focus is different. Two major Dracula (2008), Dracula: The Dark shifts found by the researcher are the Prince (2003), Dracula: The Impaler emergence of science and the blurring of (2003), Dracula Untold (2004); two horror sexuality. drama including Dear Dracula (2012), (2012), one horror The Emergence of Science adventure Billy & Mandy's Big Boogey Adventure (2007), one horror sci-fi Dracula films in the early twenty first Dracula 3000 (2004), and one horror century which mix the genres shift some romance Saint Dracula 3D (2012). conventional themes. Certainly, the films keep bringing the themes of faith Vs The mixing genres are certainly a response science, good Vs evil, and modernity Vs to the audiences’ rapid expectation of fresh tradition as those produced in the early entertainment, which is able to satisfy Dracula films, but the intention is already them today when the entertainment different. If in the early films, superstition industry is so massive. Thus, in order to and faith are dominant; nowadays films meet their expectation, the film makers bring more intention to the science rather should be able to make variation of the than the faith and superstition. formula although some major conventions still need to be narrated as the first appeal. In the early Dracula films which are gothic By combining the formulas of the mixed horror, the dominant theme of faith is genres as well as considering the social shown in some elements of the films issues and trends, the invention of a new including the character, the properties, and formula is not a hard thing to do. Dracula the plot. The character of Dracula in the films have recently proven to successfully unauthorized adaptation of Dracula invent new formulas with such ways. Five Nosferartu (1922) is depicted as truly categories of inventions found by the monster with his old fashioned, pale and researcher include: first, it is the shifting scary face, like what the superstition is. In themes which include the emergence of addition, he is told to be afraid of the sun, science and the blurring of sexuality, holy water, and . In the plot, for second, it is the variation of stereotypical example in Browning’s Dracula (1931), characters, third, it is the changing motive, the intention of faith can be seen the fourth, it is the variation of setting, and beginning of the scenes; the people were lastly it is the replacement of properties. all afraid of who was believed to be a supernatural being who sucked blood The Shifting Themes of the living. They would not leave their houses after the dark. That is why people As explained in the beginning of this ban Harker for going to Borgo Pass chapter, in the early writing, Dracula although he keeps going. Later on, a scene (1897) was a gothic horror with the of an old lady giving Harker to archetype of contemporary heroes against save him appears in close up emphasizing archaic villains to celebrate the victory of the crucifix. Thus, both the dialogue and modernity over the past, rational over the properties appearing in the early irrational (Herley, 2007, p. 234). The minutes of the film show the intention themes of such gothic stories are mostly-as towards faith. seen in Stoker’s Dracula and its adaptation-faith vs. science, good vs. evil,

51 Nofiyanti Fuanda — Reformulating Dracula in the Early 21st Century: Genre Analysis of 24 Vampire Films

The idea of science, however, is seen as of Dracula. Therefore, the most dominant not as dominant as the faith. It is theme is the lost love of Dracula. represented only by the existence of Prof. Van Helsing who functions as the hero or If the films that are combined with the the problem solver, and the silver steak as action genre still give a lot of attention to the property to subdue the vampire. Van faith, other Dracula films mixing with Helsing was an intellectual person with other genres like sci-fi and drama as well knowledge of medication, yet he still as pure horror highly celebrate science. believed in superstition as he argued to Dracula 3000 (2004), a horror sci-fi film is another professor in his office after the totally a science celebration in the whole murder of Lucy “I may be able to bring elements as it tells about the future year of you proof...that the superstition of 3000 and the truly modern technology of yesterday can become... the scientific space travel called salvage ship Mother III. reality of today.” (Dracula, 1931; An drama film, Hotel 00:32:36-00:32:49). The silver steak, Transylvania (2012), certainly brings about although it is believed to have power to modernity in its soft narrative which is subdue the vampire, is not used in the early targeted for children. The hotel as the Dracula films to end the evil life. Dracula setting is a modern form of the castle mostly dies by sunlight. where Dracula lived in the early Dracula adaptation (1931). The properties used However, nowadays popular Dracula films such as the projector Dracula used to show are found to highly celebrate science and the human development in his daughter’s modernity more than faith. In Van Helsing birthday, the phone that Jhony brought, and (2004), for example, the main character of the plane which brought Jhony also show the film, , is depicted how science and modernity are celebrated as a human who is believed to be able to in the film. In the recent Dracula horror defeat monsters including Dracula with his film titled Dracula Reborn (2002), science power. Although it is told that Van Helsing is also emphasized. Dracula in such pure is protected by the church, it is not the horror is not living in a castle, but a big religious attributes like the prayer, crucifix mansion. Rather than traveling using a or the holy water which then defeat the cart, he has a luxurious car. Furthermore, monsters. Instead, he uses modern such religious symbols an no longer weapons. dominant.

In addition to Van Helsing (2004), other Different from other subgenres which horror action films which are colossal such celebrate science, a current new film, Saint as Dark Prince: The True Story of Dracula Dracula 3D (2012), which is more (2000), and Dracula: The Dark Prince romance than horror still highly (2013), also include the theme of faith vs. emphasizes faith although it also shows the science, rationality vs. irrationality, and modernity in some aspects such as the good vs. evil as both actually tell the setting and the properties. The film similar story; Stoker’s is only the certainly describes Dracula as a blood continuation and the repetition of the sucker, but such narrative is told in the Romanian folklore. However, unlike those story only as in the opening. The film representing Stoker’s imagination, the focuses on developing the love story of films adaptation of Romanian Dracula still Dracula and Celia. Thus, Dracula is more put a big influence toward faith. sympathized for his lost love in the past. Furthermore, rather than bringing about the mystery or the horror, Romanian Dracula tends to bring about the romance

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The blurring of sexuality depict another role in life—the one which was uncommon at the time this fiction was Since the early belief of the vampire, this produced. The brides are the ones feeding creature has always been associated with their master. They are free and wild, while sexuality. The first recorded evidence of Dracula is just staying at his castle the vampiric image which is a picture ordering his brides to do everything. Thus, drawn on a bowl of a man copulating with if Harker and Mina represent the a beheaded vampire in prehistoric times patriarchal life, Dracula and his brides can shows how the creature has been sensual be interpreted as representing the modern since its early creation (Baresford, 2008, p. one in which man and woman are more 31). In fact, seeing from the natural equal as depicted by the brides who have standpoint that Dracula is mostly man with already had a role to work finding the prey his behavior of blood drinking and the fact although they are still under Dracula’s that most victims are women, we see control. actually such a natural way to connect the creature with sexuality. In the early twenty first century, however, the themes of gender and sexuality are no Dracula (1931) as one of the most popular longer highly celebrated in Dracula films. vampire fictions also includes the theme of The themes exist, but are blurred. In the sexuality in its narrative. The issue of colossal films such as Dracula Untold sexuality represented in the first Dracula (2014), and Dracula: The Dark Prince film adaptation (1931) is the matter of sex (2013) there are no sensual scenes like in oppression toward women, similar to the the past Dracula films. The films are more novel. Women in vampire tales are always about the romance between King Vlad III the victims, the object of sexual desire and his lost love, Elisabeth. Furthermore, since they are considered physically weak, even if the films represent Stoker’s while men are the hero or the villain and adaptation which bring about the past have the power. Mina, Lucy, and the brides vampire such as Saint Dracula 3D (2012), are all the victims of Dracula. Lucy is the Van Helsing (2004), and Shadow of The victim of Dracula’s desire of the virgin Vampire (2000), the intention is no longer blood, while Mina as well as Dracula’s to portray sexual seduction, but the tragic brides are Dracula’s objects of sexual romance between the vampire and the desire. They are all passive as Mina has no female victims. In Saint Dracula 3D way to avoid or defend herself from (2012), there are several vulgar scenes Dracula’s charm and the brides willingly between Dracula and Celia as they fall in serve Dracula’s sexual desire. love. However, the scenes are not as vulgar as those shown in Copolla’s Dracula In addition to the theme of sexuality, the (1992). Other films which mix with drama issue of gender is also dominant in the such as Hotel Transylvania (2012), and early adaptation of Dracula. In Dracula sci-fi such as Dracula 2000 (2000) are (1931), the issue of gender especially even far away from portraying sexuality. equality between men and women is represented by the main characters The issue of gender in the recent Dracula and Mina as well as films is also not as dominant as in the past. Dracula and his brides. In the case of Moreover, the issue brought has already Jonathan Harker and Mina, it is seen that a different. Nowadays Dracula films are patriarchal culture is still well applied. mostly the celebration of women Jonathan as a man should work, while emancipation. Some films put woman as Mina stays at home. In the opposite of another hero rather than as the victim such Jonathan and Mina, Dracula and his brides as in Van Helsing (2004), Van Helsing is

53 Nofiyanti Fuanda — Reformulating Dracula in the Early 21st Century: Genre Analysis of 24 Vampire Films

helped by Ana in defeating Dracula. In Variation of the Stereotypical Dracula Untold (2014) Dracula’s wife Characters starts helping Dracula to defend the kingdom. Thus, if women used to be The characters of horror films mostly stereotyped as weak so that they could include hero, villain or the monster, loved only become the victims, in the recent up couple, helper, victim, and donor. Those films they began to play an important role all stereotypical characters have their own in the plot of the story. They can be the function in the plot of the story. In hero’s helper or even the hero. addition, they have also special characteristics which become the formula The Variation of the Motive to differentiate horror from other genres. However, the researcher finds three The consequence of the shifting themes of significant transformations of the the recent Dracula films is that the stereotypical characters in the recent films narrative structure which transforms the including the evolution of the monster into theme into a complete story telling also hero, the appearance of woman as another changes in some ways. One of the most hero, and the variation of loved couples. important elements of the narrative which functions to trigger the conflict is the Monster as the Hero motive. The motive of the early Dracula films is mostly the expansion of Dracula’s In the recent Dracula films, the hero and territory. the villain become confusing. The villain or the monster, Dracula turns into a hero Current films, however, vary in motives. especially in the colossal and animated Most of them bring about revenge and films such as Dracula Untold (2013) and hunting as the motives in the plot story. Hotel Transylvania (2012). In Dracula Yet, there are still some films keeping the Untold (2013), King Vlad III who is called traditional motive of expansion. Those are Dracula was not a monster since the the films which faithfully bring the pure beginning. He was a good king, battled for horror of Stoker’s. Another subgenre, the glory of his kingdom, but then horror drama, which is mostly in animation transformed into a devil after the death of in films and targeted for children brings his wife, and the threat from the Turks. He various motives such as defense and betrayed God for not saving his wife while proving something. In Hotel Transylvania he was away defending his people. Thus, (2012) for example, unlike most Dracula his deeds are considered reasonable by the film which keep the horror sense even if audiences. He is seen as a victim rather they are mixed with other genres, the film than the villain. The sorrow he experienced is considered a drama. It represents the more touching compared with the sadistic themes of love and family life. The motive way he killed the people by impaling. The found in such Dracula film is the defense Turks, somehow, are more cruel although of Dracula from human. Different from they just triggered what Dracula did. They Hotel Transylvania (2012), another short are considered the cause of the cruelty of animation horror drama Dear Dracula Dracula. (2012) brings the motive of proving. Dracula appears to prove that he is still Woman as another Hero scary since human no longer believe in his existence. Women mostly become the victim in horror films since they are considered weak. Men, however, always play the monster or the hero since they are

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considered strong and masculine. In traveled to Dracula’s castle alone. Stoker’s Dracula, Mina, Lucy, and the Although he was warned by the local vampire brides are all the victims of people, he kept going since he was living Dracula. Lucy is the first to be killed. Mina far from the village and had less is the one who is hunted since her face is information about Dracula. Even when he similar to Dracula’s lost love. The brides, already knew that something wrong although they are depicted as strong happened in the castle, he kept staying as vampires, are only Dracula’s servants who he was motivated by the benefit of a lot of feed him. money he would get if he successfully made contact with Dracula. Different from the earliest films, recent Dracula films put the woman as the hero’s In the recent films, however, the loved up helper like in horror action Van Helsing couple’s are distinct. They are not only (2004). In the film, Van Helsing is not the between two victims, but also between the only hero. He is helped by Anna, a woman heroes as well as between the hero and the with a masculine character. Her function in victim. The variation of the loved up the plot of the film is quite significant. couple between the heroes exists in the Besides to help kill the Dracula, she also films in which the motive is hunting such functions as the one who destructs both the as Van Helsing (2004) and Dracula: The villain and the hero’s attention. However, Dark Prince (2013). In Van Helsing there are some films which still put women (2004), the loved up couple is Van Helsing under the domination of men. Those films and Anna Valerious, while in Dracula: The are mostly the pure horror ones which still Dark Prince (2013), the loved up couple is faithfully adapt Stoker’s plot such as Lucian and Alina. Those two couples are Dracula Reborn (2012), and Dracula typical in the characterization and plot. (2006). Both Anna and Aliana are strong and sexy girls who have a mission to hunt Dracula. Variation of Loved Up Couple The girls and the boys do not know each other at first and fall in love after they Another formula of horror is the existence amaze each other with their strength. of loved up couple. They are male and female, usually all over each other when The variation of loved up couple between they are killed. They are typically away the monster and the victim, on the other from the rest of the group when the first hand, exists in the films in which the murder occurs, therefore they do not know motive is revenge for the lost love that there is a killer around them. In including Dark Prince: The True Story of addition, since they are busy with Dracula (2000), Dracula Untold (2014), themselves, they do not notice the killer Hotel Transylvania (2012), Saint Dracula even when he is close to them1. The loved 3D (2012). In Dark Prince: The True Story up couples in Stoker’s Dracula, both the of Dracula (2000) and Dracula Untold novel and the adaptation are the victims (2013), the loved up couple is Dracula and Mina and Harker as well as Lucy and his wife. In Hotel Transylvania (2013), the Arthur. In the beginning of the plot, Harker loved up couple is Dracula’s daughter, Mavis and the visitor Jhony. In Saint Dracula 3D (2012), however, the loved up 1 Marston, J. (2015). Stereotypical couple is Dracula and the victim, Celia. All Characters in Horror Films. Retrieved of those films that show the hero and the from victim as the loved up couple focus on http://www.slideshare.net/JessMarston95/s exploring the tragic romantic story of the tereotypical-characters-in-horrorfilms couple which are then separated by death.

55 Nofiyanti Fuanda — Reformulating Dracula in the Early 21st Century: Genre Analysis of 24 Vampire Films

and less scary. His power, on the other hand, is less super. If the Stoker’s Dracula is so with his pointed ear and pale Variation of the Setting face, recent Dracula is totally human, even a charming one. His outfit is no longer a Vampire films in general and Dracula in black coat with a red collar, but modern particular, as an established genre of film, clothes as used by common people. In have two major places as the setting: the addition to the appearance, the weapons isolated place where the vampire lives and used to kill Dracula are also substituted. the urban place where human stay. Those The sunlight and silver stake are still two places certainly function to represent Dracula’s enemies, yet the crucifix, garlic, the past vs. the present, tradition vs. holy water, and other religious properties modernity, as well as faith vs. science. no longer affect him. The new weapons The setting of time, on the other hand is used in mostly recent films are modern mostly the since the idea of weapons such as Lightbringer in Dracula: vampire was booming in that transitional The Dark Prince (2013). period. Mixing Genres However, as the themes change through time, the setting also develops. Thus, the Dracula films in the early twenty first researcher finds that the time setting of century, as discussed previously, develop recent Dracula films is mostly in the the formulas. One of the drives is certainly present era, while the setting of place the mixing genres as it has been identified varies in both the isolated and urban areas. the films are no longer only pure horror, The variations of isolated places include but mix with other genres. The the cave, , and hotel; while the hybridization or the mix of genres forces urban places which used to be real estate, the combination of the formulas since now include mansion, museum, kingdom, every genre has its own formulas which and laboratory. are already familiar to the audiences. Action films for example are familiar with Changing Properties the fight, romance with its hero and heroine, sci-fi with the scientific tools, One other formula of Dracula films is the with the bloody act, comedy with weapon used to defeat the monster. In the the twist, and adventure with the journey. early creation of the fiction, Dracula can The combination of horror and action be defeated by a crucifix, holy water, which are targeted to the two different sunlight and silver stake. Such weapons groups of spectators certainly should used to kill are merely associated with gather both mystery and fight in order to Dracula as a mythical figure. Dracula is a meet the expectation of both horror and vampire, an evil whose enemy is God. He, action lovers. In addition, the combination therefore, can be subdued only using should be also proportional, so that the religious symbols. Silver stake, however, audiences of horror can get the fear from as the only modern weapon used the mystery shown, and the action represents the modernity which became spectator can still enjoy the part of one of the big issues at the time of the physical attraction. creation of Dracula. The mixing formulas of Dracula films Recent Dracula is still a mythical figure, somehow can be considered successful but he is not as mythical as in the classic seen from the popularity of some films horror. His appearance is more modern, among horror films in general. Although

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there are a lot of horror films bringing immortal will remain in the past and about new formulas such as Annabelle irrational. They hold whatever in whenever (2014). The success of the new formulas they turn into the undead. Even if they are certainly, as explained in the previous created in the millennium era, they will paragraph, is because the films are able to exist in the past. Meanwhile, the different measure the composition of the mixed intention in the films is mainly-besides the formula and correctly put them into reason of the consequences for mixing sequences. One of the successful Dracula with other genres-because of the films presenting a new genre is Van development of human life. Helsing (2004) which mixes horror and action. Van Helsing (2004) successfully One hundred years after Darwin, religion turns the horror into soft action films by still exists, and science grows unstoppable. focusing on the role of the character of Van The fact that Darwin’s theory cannot Helsing as a . A dracula answer the very basic question of “what film which mostly tells the story of the does then create the first essence of the terror of Dracula becomes a story of evolution?” certainly becomes the reason hunting Dracula. The Dracula lovers can of the everlasting belief of religion as still taste the mystery and the horror represented in the theme of literary works. tension of the film from the terror of However, religion now is becoming more Dracula to the villagers as well as his plan private compared to science which is even to breed vampires. On the other hand, more celebrated. Thus, the emergence of those who like the action can enjoy the science in Dracula films today is fighting scenes between Van Helsing, something in line to the characteristics of Dracula and the . the modern era in which technology is so important in supporting human life and Modernity and Rationality logic is above all traditions.

The theme of religious belief vs. science, ‘New Women’ and tradition vs. modernity flourished in the early Dracula films as the reaction to It has been discussed that the theme of the raise of science after the publication of gender and sexuality which exist in Darwin’s theory of evolution which nowadays has shifted its challenged human to question the intention. In todays films, the issue of irrationality of religious versions of the sexuality blurs into romance. Films like theory of human creation in the late Saint Dracula 3D (2012) and Dracula nineteenth century. As science was new at untold (2013) give more attention to the that time, Dracula films mostly still bring story of Dracula’s lost love than to the about faith as the theme. However, recent seduction of Lucy by Dracula. On the films have been found to shift the themes. other hand, the gender issues represented They celebrate science more than faith. in the recent films are mainly about women’s equality. Women are no longer The themes of good vs. evil, past vs. placed in subordinated positions as modernity, and religion vs. science in the victims. In Van Helsing (2004), the Dracula films remain exist through years woman, Ana, becomes the hero’s helper. In as those are actually the basic idea of the Hotel Transylvania (2012), Mavis, creation of the immortal creature-the Dracula’s daughter is depicted as a vampire. They are created as the binary of masculine girl rather than a feminine one. the mortal-the human. As the mortals run into modernity and celebrate rationality The celebration of women’s emancipation with the development of science, the in Dracula films is in line with the real

57 Nofiyanti Fuanda — Reformulating Dracula in the Early 21st Century: Genre Analysis of 24 Vampire Films

phenomenon of women’s empowerment happened recently in the early twenty first especially in the Unites States. Stoker’s century. Two major issues related to the Dracula was produced in the Victorian era vampire in literature are first, modernity when the aristocratic culture was still well and rationality and second, the applied, and women were struggling over phenomenon of ‘Now Women’. Such it. It was the time of the flourish of the arguments are proven since other films issue of the ‘New Women’, women who both vampire and horror in general show did not behave as the Victorians should. similar intentions. Lucy, Mina and Dracula’s brides in Dracula (1931) can be interpreted as the References picture of the people’s fear of this phenomenon. Meanwhile, the appearance Bailey, D. (2005). Horror. In D. Herald and of a woman as another hero in recent films W. Wiegand (ed.), Genreflecting: such as Anna in Van Helsing (2004), or a Guide to Popular Reading Elisabeth in Dracula Untold (2013) then Interests Sixth Edition. Littleton: can be interpreted as the changing Libraries Unlimited. phenomenon of the ‘New Women’. If Mina Baresford, M. (2008). From to is considered as a better girl in Victorian Dracula. : Reaktion era and Lucy is the more modern one, Books Ltd. Anna in Van Helsing (2004) posses Lucy’s Bitsch, V. (2005). Qualitative Research: A characteristic as an active woman, but her Grounded Theory Example and position is close to Mina as the main Evaluation. Criteria Journal of protagonist character. Thus, if the ‘New Agribusiness 23. Agricultural Women’ was people’s fear in the Victorian Economics Association of Era, it is now a social phenomena, the Georgia. ‘New Women’, who people have already Carroll, N. (1987)The Nature of Horror. accepted. Journal of Aesthetic and Art Criticism. 4. 1 (1987): 51-59. Conclusion Creswell, J. W. (2009). Research Design: Qualitative, Quantitative, and To conclude, the formulas of Dracula films Mixed Methods Approaches (3rd in the early twenty first century develop in ed). Los Angeles: Sage their own way, different from vampire Publications, Inc. films in general-although there are some Denzin, N K., and Lincoln, Y. S. (2000). formulas which are going in the similar Handbook of Qualitative direction. The inventions of the current Research. Thousand Oaks: Sage formulas are: the shifting themes including Publications, Inc. the emergence of science and the blurring Barney G., and Strauss, A. L. (2006). The of sexuality; the changing motives; the Discovery of Grounded Theory: variation of stereotypical characters Strategies for Qualitative including the monster as the hero, women Research. USA: Aldine as another hero, and the variation of loved Transaction. up couples; the variation of setting; and the Grant, B. F., and Keith. B. (2003). Film replacement of properties. Genre Reader III. USA: University of Texas Press. The development of the formulas is Herley, B. (2007). Contemporary Horror certainly the result of the mixing genres. In Cinema. In C. Spooner and E. addition to the mixing genres, it is also McEvoy (ed.), The Routledge response to the audiences’ expectation Companion to Gothic. New York: which is in line with the issues which have Routledge.

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Langford, B. (2005). : http://www.slideshare.net/JessMa Hollywood and Beyond. rston95/stereotypical-characters- Edinburgh: Edinburgh University in-horror-films. Press. Melton, J. G. (2011). The Vampire Book: Marston, J. (2015). Stereotypical The Encyclopedia of the Undead. Characters in Horror Films. USA: Visible Ink Press. Retrieved from

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