By Charles E. Butler
Romance is a labour of affection for the flicks in line with Bram Stoker's novel Dracula. From Max Schreck (1922) to Marc Warren (2006). Fourteen experiences of fourteen vintage video clips. The epilogue exhibits stories of flicks within which Dracula has made a token visual appeal.
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Extra info for The Romance of Dracula: A personal Journey of the Count on celluloid
Faced with the challenging dissemination of the increasingly unmanageable female figure dispersed and scattered through- out the lyrical ages, the modern nineteenth-century poet must now organize and collect her body parts into renewed poetic forms such as prose poems like "The Beautiful Dorothea" that still retain the fragmented quality of the body from the lyrical age in prosaic forms. He thus acknowledges the insufficient matrix provided by traditional lyric forms. Already in Flowers of Evil Baudelaire finds it increasingly difficult to work with the classic lyric format when the modern female body appears to have outgrown this pat- tern.
As stated by Yves Bonnefoy,8 Flowers of Evil is "a theater of the human body" in which the body plays its physical part and poetic language gives (bodily) shape to the scene/seen. The poetic body of Flowers of Evil includes feminine figures such as divinities, muses, angels, nymphs, vampires, old women, prostitutes, beg- gars, and passersby, not to mention a host of others. The very eclecticism of such an extensive list hints at a division between ideal women and modern women. In some respects this separation follows Baudelaire's division of "Spleen and Ideal," in which the women belonging to the world of Spleen are often depicted as modern women-women always on the move, often living or passing in the streets and offering sensual pleasures, real or fanta- sized-whereas women belonging to the world of the Ideal poems appear more often as divine creatures, as pure and inaccessible as goddesses.
Qxd 05/09/2000 4:33 PM Page 18 18 * Cutting the Body poetry and cinema, this chapter proposes to analyze the inner movement of the lyrical text/image, thus suggesting that the concept of the lyric is closely associated with both textual/visual divisions and the detailing of the female body. The quantitative presence of women's bodies in lyric poetry cannot be denied. One does not have to look very far into its history in order to find several famous names for these women's bodies in constant display- Petrarch's Laura, D'Aubigne's Diane, Sceve's Delie, Ronsard's Helne, Shakespeare's Dark Lady of the sonnets, Nerval's Sylvie, Adrienne, and Aurelia, as well as Baudelaire's mostly nameless eternal beauties and pass- ing strangers.