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The Kiss Of The Vampire Movie Poster Masterprint (35.56 x 27.94 cm)

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The additional footage shot for the televised version revolves around a family, the Stanghers, who argue about the influence of the vampiric Ravna clan but never interact with anybody else in the movie. The teenage daughter, Theresa, throws over her boyfriend in favor of Carl Ravna (unseen in these scenes) who has given her a music box which plays the same hypnotic tune that he plays on the piano elsewhere in the movie.

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, an end to sexual harassment and more equality between men and women in wider society. In America, equal pay legislation was passed in 1963. The Symbolic Codes (Barthes) of horror, darkness and fear are more widely reinforced through signifiers such as the moon and the male victim’s ‘submissive sacrifice’ gesture code A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper. Dresses were made of light material to highlight their curves and revealing the flesh of arms and chest'sMES of the male vampire's face is one of fear. This is highly atypical of a conventional vampire film where vampires are typically represented as evil and fearless Historically, 1963 saw the early stages of ‘Beatlemania’ and the so-called ‘swinging sixties’, the assassination of JFK and the Soviet Union launching the first woman into space. The doctor insists that the young couple attend the lavish masquerade ball that he is hosting the next night, and neither husband nor wife finds this strange. This must be the way that they party down in the mountains of Bavaria. We soon discover that Professor Zimmer likes his brandy a little too much and that he just buried his daughter in the village. Perhaps that explains his close lipped ways; the man is obviously grieving the loss of his daughter. A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.

Barber, Ryne (30 June 2020). "Kiss of the Vampire Blu-ray Review (Scream Factory)". Cultsploitation. Archived from the original on 9 July 2020 . Retrieved 10 July 2020.

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David Gauntletts theory of identity is also being seen here as typically in horror films, all the female characters are normally victims but in this we can see that one woman is a vampire and is pinning down a male. This links into the time this film was made; because during the 1960's this was a time where feminist where campaigning for more equality between men and woman. So in this film we might start to see a difference between how men and woman have normally been represented.

Juxtaposed against this is a socially accepatble female ideal, constructed through the disempowering dumb blonde stereotype who willingly and passively submits to her male counterpart. The left hand positioning and the high key lighting combine to present this more submissive character as the privileged and ideologically acceptable role model from the female binary offered. x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry. The job of directing was offered to Don Sharp, who later said he had never seen a horror film before being asked to the job by Tony Hinds. Hinds told Sharp he thought the director would be ideal based on Sharp's other work. The director watched Curse of Frankenstein, Dracula and Stranglers from Bombay and became enthusiastic. [2] Stylish Hammer production involving a honeymooning couple lost in the Bavarian woods and their encounter with a (literally) hypnotic doctor who lives in a castle, which is a front for a cult of vampires. The couple are invited to attend a masquerade party there and (big mistake) they accept. DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.Thompson, Howard (10 October 1963). "Screen: Knights and the Supernatural". The New York Times: 49. A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration. Hammer Film productions' shows the film will probably be good as they are seen as 'master's' of horror. Common conventions shown as vampires, bats, the moon and a haunted house can all be seen. From the context of the 1960's , the woman's costumes are somewhat revealing, with a big focus on breasts and cleavage The UK in the 1960s had extremely strict censorship laws. Sharp, Don (2 November 1993). "Don Sharp Side 3" (Interview). Interviewed by Teddy Darvas and Alan Lawson. London: History Project. Archived from the original on 13 July 2021 . Retrieved 14 July 2021.

The vampire himself seems uncharacteristically fearful in his gesture codes with his arm thrown across his body in a defensive gesture, perhaps protecting himself from the female vampire. perhaps the female vampire acts as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment. Serif font of the title is in the style of a wooden stake, a paradigmatic convention of the vampire genre. Additionally, the MES of of the stake functions as a proairetic code Barthes’ Semantic Code could be applied to images of the bats and their conventional association with vampirism and horror in general.

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Scarlett Johansen in listen as the 3rd actor in the names at the top. This is 3rd of 10 actors whereas in KOTV the first female actor was named 4th out of 5. This shows that women now get credited a lot more in film and credited in society a lot more. Similar to modern film posters with names of main actors can be seen easily in a large font. But also very different as production credits can be seen wheres now they are much smaller and credit a lot of individuals. Barthes’ theory of semiotics can be applied. Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires and the fate of their two victims. Semantic code could be applied to the images of the bats and their conventional association with vampirism and horror in general. The symbolic codes of horror, darkness and fear are more widely reinforced through signifiers such as the male victim’s gesture code. MES of the female victim's costume is highly polysemic and can connote both stereotypically sexualised and innocent. The

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