First and foremost, I would like to express my most sincere gratitude to my supervisor, Associate Professor Xue Mei, both for her intellectual guidance and for her warm and constant encouragement during the process of writing this thesis. With patience and prudence, she labored through drafts of this thesis and pointed out defects in my theorizing. Therefore, I owe all the merits in this thesis, if any, to her, though I am fully aware that the thesis might still contain some mistakes, for which I bear the whole responsibility.
My cordial and sincere thanks go to all the Professors who have given the inspiring and informative lectures. It’s their detailed explanations of cultural theory that lead me to a challenging yet fascinating domain of academic research. The profit that I gained from their profound knowledge, remarkable expertise and intellectual ingenuity will be of everlasting significance to my future research.
I am also deeply grateful to my roommates and friends who gave me comfort and encouragement through the process of writing this paper. When I met obstacle, when I was desperate, they told me their experiences when writing graduate papers, which sustained me to finish this paper.
Last but not the least; big thanks go to my family who has shared with me my worries, frustrations, and hopefully my ultimate happiness in eventually finishing this thesis.
Abstract
Vampire is one of the most common themes in Hollywood. Today, many audiences, especially the juveniles, were fascinated by the charming vampire Edward in Twilight in 2008 and the image of the vampire in Twilight had changed a lot compared with the character in Dracula in 1992.
Modern researches on vampire films and vampire images overseas have lasted for nearly half a century, mainly focusing on psychoanalysis, feminism, mass culture, occultism and so on. Only a few domestic researches are concerning with the vampire image, so this thesis is focusing on the change of the vampire image.
In people’s mind, vampire is almost synonymous with evil, especially in early vampire movies and literatures. Over the past thirty years or so, the vampire images have undergone several reconstructions, while taboos related to it have been challenged and refashioned. In recent years, the image of vampire has had a great change in movies and literatures. This thesis analyses the origin and development of vampire images from the cultural aspect. It is hoped to serve as a modest spur to induce others to come forward with their valuable contributions to vampire image researches in domestic.
Key Words: vampire, vampire film, vampire image, literatures and films
摘要吸血鬼是好莱坞电影中最为常见的材料之一, 在过去的三十年以来, 不光吸血鬼形象有很大的颠覆, 而且也没有再局限于原来的各种禁忌。2008年上映的吸血鬼系列电影《暮光之城》中的爱德华形象更是吸引着无数观众为之倾倒, 与此同时片中的吸血鬼形象与1992年《德古拉》中的吸血鬼有很大的差异。
吸血鬼电影和吸血鬼形象的研究在国外已延续半个多世纪, 相关研究主要集中在精神分析、女性主义、大众文化、神秘学等领域。但是相关的吸血鬼形象研究还不是很多, 所以本文是从吸血鬼形象的变迁进行研究的。8173
在人们的脑海中, ”吸血鬼”一直都是邪恶的代表, 特别是在早期的电影与文学作品中, 但近年来的影视文学中的吸血鬼形象发生了很大的变化。本文从文化学的角度分析了吸血鬼的形象变化及其原因。希望能对国内少见的吸血鬼形象研究起到一个抛砖引玉的作用, 并能吸引更多的国内学者关注吸血鬼形象研究。
关键词: 吸血鬼, 吸血鬼电影, 吸血鬼形象, 影视文学
CONTENTS
Acknowledgmentsi
Abstract.ii
摘要iii1 Introduction    1
2 The Introduction of Vampire Image in Religious Beliefs    3 吸血鬼文化的发展对文学影视的影响:http://www.youerw.com/yingyu/lunwen_6405.html