History of Vampires

By Ian Wagner

In the past few years, the vampire has experienced an alarming resurgence in popularity, being focal point of best-selling books, high grossing movies, and widely watched television shows.  Although the character never truly ceased to be prevalent, at least not to the point where it would be in danger of dropping out of public consciousness, only recently has the creature began its absurd ascent to the absolute zenith of popular culture.  With this renewed interest in the vampire, one must consider the history of the character, tracing its development over the years, and examining the various ways it has been portrayed in art.

Two of the most classic vampire characters are Count Dracula and Nosferatu, who made original appearances in Bram Stoker’s 1897 novel Dracula and the 1922 film Nosferatu: A Symphony of Terror, respectively.  Both works play off of relatively similar narratives, with a real estate agent venturing into Transylvania and selling the vampire a house in England.  However, it seems as though both characters have different motivations, and thus express different themes with their actions.

Count Dracula, more than anything, expresses the various anxieties of Victorian society, mainly a certain wariness about the limitations of modernity, and the growth of female sexuality.  The count exploits such fears by using antiquity and superstition as his primary weapons, leaving the modern doctors puzzled by the prospect of ailments that science cannot cure.  He also uses his seductive prowess to prey upon the main characters, particularly the women in the novel.  With a stunning comprehension of both his own strength, and the weaknesses of his adversaries, Count Dracula is in a perfect position to undermine the safety and comfort of Victorian England.

As stated, the narrative’s of both Dracula and Nosferatu are very similar, and the main differences reside in the characterization of the vampires themselves.  Possibly the most striking characteristic of Count Dracula is his is masterful control, not only over his own actions, but over the actions of others.  He is the master of manipulation, and everything he does seem very calculated.  Nosferatu, in contrast, seems to be completely subservient to his rather bestial desires.  In particular, his sexuality in the film seems to come more from genuine lust, rather than being used as a tool of control, as Dracula uses his.

But how exactly is the vampire being portrayed in the modern day?  Which of their classic characteristics have been kept and which have been discarded, and are there any significant new developments in the creature’s persona?  In the coming issue of The Falcon Flyer I will examine some of the more modern incarnations of the vampire and see how they compare to these classic portrayals.