Wednesday 23 October 2024

Kiss of the vampire - introduction to essay structure and detailed representational analysis

Example question - Explore how the representation of gender is constructed in the theatrical poster for Kiss of the Vampire [and compare it to this thing you’ve never seen!]



For introductions, use DAC - definition, argument, context

Example one

Representation refers to the ways in which something is presented again by the producer of a media product to construct meaning and to present an ideology to the target audience. In this essay, I shall argue that the representation of gender in the theatrical poster for KOTV is wholly conventional stereotypical of gender roles at the time in which it was made. However, I shall also argue that there are many elements which defy stereotypes. KOTV was released in England in 1963, and was produced by Hammer Studios. 

Example two

Representation refers to when a person, issue or event is constructed by the media producer to present their ideological perspective and construct a compelling narrative.  In this essay, I shall argue that while there are many conventional aspects to the representation of gender, the poster notably breaks many stereotypes about men and women. Kiss Of The Vampire was produced by Hammer studios and released in 1963, at a time of unprecedented liberalisation and cultural change. 

For paragraphs use PEA - Point, evidence, analyse/argument 


Please note that the following analyses are not really PEA paragraphs, they are chatty, group based analyses. However, they give you some good examples of content.


  • The MES of the enormous bat fighting the woman constructs a representation of an unconventional and powerful woman. This idea is reinforced by the facial expression and the gesture code of the female vampire, which conversely constructs representation of women as strong, brave and even violent. The vampire’s facial expression is surprisingly vicious, and constructs a binary opposition between her and the defenseless woman immediately to the left of the composition. Additionally, her face is screwed up in a not conventionally attractive way, which subverts the exp0ectation that the function of women in a media product is to be beautiful and hegemonically attractive. In this sense, we see the poster subverting Van Zoonen’s assertion of the male gaze. However, the MES of her body still functions as spectacle for a heterosexual male audience through her loose dress and emphasis on her breasts.
  • Conversely the male vampire forms an opposition with the female vampire. The MES of his facial expression suggests that he is terrified, and is an unconventional representation of masculinity. This is further reinforced through the gesture code suggested by his arms, as he frantically tries to protect the stereotypically attractive damsel in distress. However, the the MES of the vampire’s cape and the subtle MES of fangs constructs this character as a vampire, yet breaks stereotypes of vampires and constructs an unconventional representation of men. For audiences at the time, they may be shocked at the dominant ideology being broken, and a more vulnerable representation of men being constructed. This unexpected convention provides a more unique and enticing element for the target audience. 
  • The castle in the background constructs a stereotypical representation of Eastern Europe. While referring to no country in particular, it is a highly stereotypical representation, and constructs eastern Europe as miserable, dystopian, and dangerous. This notion is reinforced through the MES of bats, which connotes danger, and spookiness
  • The colour palette lacks an emphasis on bright colors, which is highly typical of the vampire subgenre. Colour is crucial in constructing gender representations and stereotypes. For example, the male vampire is clothed almost entirely in dark clothes which is symbolic of both evil and power. This forms a binary opposition with both of the female characters in this poster, who are wearing white dresses that are clearly underwear. This binary opposition between the well dressed man and the under dressed vulnerable women reinforces the stereotypes that were dominant at the time. Liesbet Van Zoonen argued that women are situated within media products to be presented as a spectacle to a heterosexual male audience. Furthermore, we see the male and female characters being represented in completely different ways.
  • However, the representation of women, in particular the female vampire, is highly polysemic. While the female vampire is constructed as hegemonically attractive through the MES of her revealing costume, a subversive representation is encoded through her violent and even hegemonically unattractive facial expression. By presenting an unusual and even subversive representation of women to the target audience, the producer is clearly avoiding genre repetition and providing audiences with an exciting and new representation of women. 
  • The gesture codes of the female characters are essentially in construction both hegemonic and subversive representations of women. On the left of the poster, the unconscious human woman is flopped elegantly against the male vampire. Being unconscious is a symbol of weakness and vulnerability, and is stereotypical of the representation of women. Yet in spite of this trauma, she still remains hegemonically attractive. This reinforces the dominant ideological perspective that the function of women in media products is to be a spectacle, and to be looked at by a heterosexual male audience. Yet this is wholly subverted through the dominant and proactive and threatening gesture code of the female vampire, which again forms an exciting binary opposition for the target audience