The capitalized serif font connotes the vampire film genre with its 'wooden' styling linking to a stake needed to kill a vampire. Also looks like a fang. The setting of the image uses low key colours, and the MES of the women's costumes contrasts highly with this, presenting a pleasing binary opposition to the target audience. Originally intended by the studio as a Dracula film, the count's name is never mentioned in this film. The young couple (Edward De Souza, Jennifer Daniel) have much of the screen time and are both pretty bland as performers. De Souza's character is a bit of a dope (at least to experienced horror fans who can well see ahead in the story as to what is about to happen to them) while Daniel adequately serves her role's requirements by being young and attractive. Let's face it, folks, the cult of vampires don't want her attendance at the party because of her conversational ability.

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. The capitalised, serif font of the title creates connotations linked to the vampire film genre with its ‘wooden’ styling (referencing the vampire’s coffin or the stake needed to kill him perhaps) and the blood dripping from the letter V’s ‘fang.’- vampire iconography.Without the fearful presences of Peter Cushing or Christopher Lee, Hammer tried once again to make a vampire film, but without the count and even though The Kiss of the Vampire is not a gore fest, it still manages to convey some of the gothic horror that the studio became famous for. Male vampire has a terrified expression, which is a clear subversion of genre conventions and subverts the stereotype that men are strong, powerful and active Barthes’ Semantic Code could be applied to images of the bats and their conventional association with vampirism and horror in general. Rigby, Jonathan (July 2000). English Gothic: A Century of Horror Cinema. Reynolds & Hearn. ISBN 978-1903111017. OCLC 45576395. The primary audience of this advertisement is the housewives of the 1950's who would have been using the product on a daily basis. The producer of the advert has cleverly used an average looking woman as the main model for the ad because the women who see this advert will be able to compare themselves to her. This causes the viewer to see how in love the woman is with this product, making them believe that they will be in love with the product too if they buy it. The secondary audience for this product are the men who are married to the housewives. When men look at the ad they will likely think of their wives and how much they would love this product, making them want to buy it for their wives, therefore making the company more money.

Gesture of women on the left is a stereotypical of passive victim of the monster. Highlighted from the fact that hes holding herby just one arm. Sharp, Don (2 November 1993). "Don Sharp Side 3" (Interview). Interviewed by Teddy Darvas and Alan Lawson. London: History Project. Archived from the original on 13 July 2021 . Retrieved 14 July 2021. 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. Anchorage of the letter V in the KOTV logo, reinforces a clear generic convention of the vampire genre her expression codes her as being a monstrous, violent, dangerous woman, which subverts the idea of the male gaze

Already a member?

Stylish Hammer production involving a honeymooning couple lost in the Bavarian woods and their encounter with a (literally) hypnotic doctor who lives in a castle, which is a front for a cult of vampires. The couple are invited to attend a masquerade party there and (big mistake) they accept. Historically, 1963 saw the early stages of ‘Beatlemania’ and the so-called ‘swinging sixties’, the assassination of JFK and the Soviet Union launching the first woman into space. Dr Ravna (Noel Willman) works his magic on Marianne (Jennifer Daniel) and Gerald (Edward de Souza) in The Kiss of the Vampire (Hammer 1964) 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