ABSTRACT

Dracula (Browning, 1931 Worland, R. 1997. “OWI Meets the Monsters: Hollywood Horror Films and War Propaganda, 1942 to 1945.” Cinema Journal 37 (1): 47–65. doi:10.2307/1225689.[Crossref], [Web of Science ®] , [Google Scholar]) introduces the general parameters of the classical screen vampire narrative of the 1930s and 1940s; a drawing-room murder mystery. In this investigative ‘drama of proof’, the murderer, already known to the audience, is a vampire who has inserted himself between a young engaged couple, seeking the woman for himself.

The classical vampire protagonist is an unreflecting figure driven by a craving for both the young woman of his desire and for human blood as sustenance. The inevitable death of the vampire represents a triumph of ‘life’, marriage understood as the basic unit by which community reproduces itself, playing out a Freudian (and romantic) opposition between the erotic instinct and the aggressive instinct or death drive. The classical screen vampire narrative does not remain static. Two key developments in the classical period are considered: non-vampires masquerading as vampires and the vampire problematizing their own relationship with vampirism.

摘要

德古拉（布朗宁，1931 沃兰德，R. 1997 年。“ OWI 遇见怪物：好莱坞恐怖电影和战争宣传，1942 年至 1945 年。” 电影杂志37 (1): 47 – 65。doi：10.2307/1225689。[Crossref]、[Web of Science®]、[  Google Scholar]）介绍了 1930 年代和 1940 年代经典银幕吸血鬼叙事的一般参数；客厅谋杀之谜。在这部调查性的“证据剧”中，观众已经知道的凶手是一个吸血鬼，他将自己插入一对年轻的订婚夫妇之间，为自己寻找那个女人。

经典的吸血鬼主人公是一个不加反省的人物，他渴望得到他所渴望的年轻女子和人类血液作为养料。吸血鬼不可避免的死亡代表了“生命”的胜利，婚姻被理解为社区自我繁殖的基本单位，在色情本能与侵略本能或死亡驱力之间发挥弗洛伊德式（和浪漫）的对立。经典的银幕吸血鬼叙事并非一成不变。考虑了古典时期的两个关键发展：伪装成吸血鬼的非吸血鬼和将自己与吸血鬼的关系问题化的吸血鬼。