Frequent use of the colour red, which functions as a symbolic code for blood, death, and, polysemic, love, romance, and sex

Hall’s theory of representation can also be applied. 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. Sharp enjoyed making the film and later said Tony Hinds was the best producer he ever worked with. [5] Despite the power of the femme fatale, their presence in media texts conventionally signfifies a vilification of female power. Certainly, the KOTV female fatale’s contorted facial gestures and dominance combined to outline her as a negative role model for female audiences of the period. Male vampire has a terrified expression, which is a clear subversion of genre conventions and subverts the stereotype that men are strong, powerful and activeStylish 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. Barber, Ryne (30 June 2020). "Kiss of the Vampire Blu-ray Review (Scream Factory)". Cultsploitation. Archived from the original on 9 July 2020 . Retrieved 10 July 2020.

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. Dr Ravna (Noel Willman) works his magic on Marianne (Jennifer Daniel) and Gerald (Edward de Souza) in The Kiss of the Vampire (Hammer 1964) x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.Dresses were made of light material to highlight their curves and revealing the flesh of arms and chest's The full moon is connotative of horror, mythical creatures, and the supernatural, which suggests the subgenre of horror x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad. BRITISH Posters Gesture of male vampire (hand clasping waist) could be symbolic of sexual assault. Ye the male vampire's face is scared and confused, constructing a powerful hermeneutic code for the target audience

Vagg, Stephen (27 July 2019). "Unsung Aussie Filmmakers: Don Sharp – A Top 25". Filmink. Archived from the original on 2 August 2020 . Retrieved 14 February 2020. Gauntlett’s identity theory can be applied to the film poster. The inclusion of the female vampire could act as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment. 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.The gesture code of the woman on the left is that of the stereotypical passive victim of the ‘monster’, his power highlighted by the fact that he’s holding her by just one arm. MES of male victim features a prone man with an unbuttoned shirt, which is an an example of sexualisation . Van Zoonen would argue that this sexualisation of men is highly atypical and challenges stereotypical assumptions of the patriarchy Films represent social fears as male vampire character looks scared and women has power over man on right. Through facial expression and body language she looks more powerful and aggressive. This could reflect male concerns at the time that the role of women was changing significantly and this could be a threat the the status-quo of a male dominated world. 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.

What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd." [2] The doctor insists that the young couple attend the lavish masquerade ball that he is hosting the next night, and neither husband nor wife finds this strange. This must be the way that they party down in the mountains of Bavaria. We soon discover that Professor Zimmer likes his brandy a little too much and that he just buried his daughter in the village. Perhaps that explains his close lipped ways; the man is obviously grieving the loss of his daughter. Produced by Hammer Film Productions and distributed by J. Arthur Rank and Universal, Kiss of the Vampire was intended to be the second sequel to 1958’s Dracula, although the film’s script actually makes no reference to Stoker’s character. This is perhaps to distance itself from unfavourable comparisons to the superior Christopher Lee who starred in the original film.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. White color of title is used to contrast darkness of main image. May potentially link to innocence of victims. 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.