Originally intended to be the third movie in Hammer's Dracula series (which began with 1958's Dracula with Christopher Lee and Peter Cushing, and was followed by 1960's The Brides of Dracula with Cushing alone), it was another attempt by Hammer to make a Dracula sequel without Christopher Lee. The final script by Anthony Hinds makes no reference to Dracula and expands on the directions taken in Brides by portraying vampirism as a social disease afflicting those who choose a decadent lifestyle. 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.

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. 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.

Additionally, even though unconscious, she is thrusting her exposed cleavage forward, a clear example of sexualisation. Women are often sexualised in media products for financial purposes, as this allows the product to target heterosexual male audiences Paul Gilroy argued that we still have systemic racism in the UK today, which are based on stereotypical and repeated assumptions about certain groups of people Barthes’ Semantic Code could be applied to images of the bats and their conventional association with vampirism and horror in general. Dresses were made of light material to highlight their curves and revealing the flesh of arms and chest's The fact that the main image link's to the poster for the original Dracula but because its in color tells us that its a modern telling of a story teller.

The dominant gesture of the female vampire places her in a position of hierarchical power over the male victim, which is highly subversive It was Sharp's first movie for Hammer. He went on to make several more films for the company. [1] Plot [ edit ]

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 Male vampire looks uncharacteristically fearful in the picture as his arm is across his body as a possible form of defense.

x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster. 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 the images of a castle, bats, the vampire’s cape and dripping blood form part of the “shared conceptual road map” that give meaning to the “world” of the poster. The audience is actively encouraged to decode this familiar generic iconography. Follow's code's and conventions of a 'monster movie' film poster. It represent's the monster and a female victim and also uses font's that had featured on this type of poster before as well. Victim woman is draped unconscious in the arms of the antagonist which constructs him as both stronger and more masculine, which reinforces a stereotypical 1960's stereotype of the roles of men and women

Kiss Of  The Vampire

Thompson, Howard (10 October 1963). "Screen: Knights and the Supernatural". The New York Times: 49. The full moon is connotative of horror, mythical creatures, and the supernatural, which suggests the subgenre of horror MES of the female victim's costume is highly polysemic and can connote both stereotypically sexualised and innocent. The 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] A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.