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Chloe Zhao Adaptation (unreleased 2021) 

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Chloe Zhao Adaptation (unreleased 2021) 

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Dracula is also now set to be getting a new sci-fi western adaptation directed by Chloe Zhao. In interviews regarding Zhao’s reimagining of the classic, she has discussed her intention to explore Dracula primarily as an ‘othered’ or ‘outsider’ figure. This concept expands on Stoker’s original intention to express dread around Eastern influence as represented by Dracula, corrupting Western Virtue shown through the rather obviously named Lucy (West)enra. However, Zhao’s intention for the story to be told through Dracula’s perspective allows for room for sympathy to be shown to the character and marking him as more of an anti-hero than the explicitly evil one portrayed by Stoker. This modern exploration of Dracula as something other than just a source of fear, is a product of the progression made since Stoker’s time of publication towards other cultures.

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Bram Stoker's Dracula 1992 - Dir. Coppola

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Bram Stoker's Dracula 1992 - Dir. Coppola

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Coppola’s 1992 gothic-romance adaptation, as also pictured top-right of the Padlet, is a key example of this. The film opens with Dracula’s reaction to his wife’s suicide and then follows his search for companionship, though this is limited by his flawed moral understanding and reaction to such by the other characters. The ending shots of the film depict his return to his wife in death, released by the love he shared with another character. The motivations of this version Dracula are surrounding grief and search for emotional connection (typical of the tragic-hero figure), a much more human exploration of a supernatural and othered character in the original text by Stoker.

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This is can be seen in the characterisation of Dracula in the Netflix adaptation of Castlevania. In season 2 of the they develop the motivations behind Dracula’s hatred of humans – the death of his wife - in order to generate the sympathy needed for the audience to feel the impact of his later death. On some level, the audience is meant to relate and feel bad for a character as the tragic hero of his own story rather than as just a villain in Stoker’s.

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In modern adaptations, the character of Dracula is often explored as a tragic hero who evokes sympathy in the reader or audience. The original text by Stoker did much less to explore the count as a figure worthy of this. This is likely a result of the modern fixation on understanding and explaining flawed characters rather than the Victorian Era’s demonization of that which appeared different.

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Stephen King’s novel Salem’s Lot and subsequent film adaptation directed by Tobe Hooper, drew directly from Bram Stoker’s original work. King formed the concept for the book, which he later claimed as one of his favourites, after wondering what would happen if Dracula came back in the twentieth century, to America. However, while this may be the original intent, the transposition of Dracula into King’s contemporary rural America, means that the character embodies modern concerns rather than the original Victorian hang-ups Stoker explored, separating the characterisation almost entirely from the text of inspiration bar the use of vampire. King instead uses the Dracula-esque figure of Kurt Barlow and his ‘turned’ to present his own fear surrounding the future and his disillusionment with the political world of America in the 1970s. So, whilst the novel and film are almost unrecognisable as modern-set Dracula adaptations, the use of a vampiric figure to portray a pervasive, social evil is in keeping with the message of Stoker’s intent and is clear inspiration.

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A version of Dracula appears in the 1988 comedy-horror Waxwork by Anthony Hickox, as one of the eighteen “most evil” beings. The vampiric character is used alongside other staples of the gothic-horror genre such as Frankenstein’s Monster, The Phantom of the Opera, The Mummy and The Invisible Man. As expected of a comic horror saturated with such figures, Waxwork (using an almost episodic form) leans firmly into the individual absurdity of each of the characters and Dracula is no exception. The main contribution of Dracula, as well as his many unnamed vampire brides, to the plot is turning a young woman into a vampire, a scene heavily underpinned with the modern association of Dracula and vampires as erotic.

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-Netflix's Version, of Castlevania's Version, of Bram Stoker's Dracula-

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-Netflix's Version, of Castlevania's Version, of Bram Stoker's Dracula-

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Castlevania III, Dracula's Curse was recently adapted into a television series by Netflix for their streaming platform. Borrowing characters from the classic metroidvania game. We follow a gang of heroes led by the vampire hunter Trevor Belmont as they attempt to find Dracula's castle and slay him.
Unlike Bram Stoker's original novel, in this adaptation Dracula is not actively monstrous. He is much more reactionary, being isolationist by nature. He only becomes actively monstrous and attempts a human genocide after they burn his wife at the stake -believing her a witch for her use of scientific methods of healing- and even then the vampire refuses to drink human blood, weakening as a result. There is a genuine attempt in this adaptation to get the audience to empathise with Dracula, despite his atrocities.
The adapted series is credited for extremely fluid and artistic animation that is adept at bringing the unholy abilities of the vampire to life.

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-The League of Extraordinary Gentlemen (1999)-

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-The League of Extraordinary Gentlemen (1999)-

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This series of comics presented the conflicts of numerous classical characters framed as superheroes and villains. Bram Stoker's Dracula and those who hunted him are the focus of a number of arcs. Here Dracula is like a supervillain, participating in superpowered, dramatic, clashes with a team of heroes. Among whom are such characters as Van Helsing, and Mina Harker -a character thought of by fans as a daughter of Dracula, and based on Bram Stoker's original character.
This daughter of Dracula also appears in the 2003 League of Extraordinary Gentlemen movie adaptation written by James Dale Robinson. Whereas in the comic series she was quickly cured of her vampirism after being bitten. Interestingly, in the movie adaptation she remains a vampire with all the abilities we have come to associate with vampires in the modern era: heightened speed, strength, inhuman vitality, etc.  This decision was made potentially to stop the only woman in the league being the weakest member. The writers likely wanting to distance this Mina Harker in their movie from the Mina Harker of the comics, who would often find her self involved in arbitrarily sexualised plot points and damsel in distress scenarios, despite being competent enough to lead the league in multiple arcs.

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This adaptation of Dracula is made unique by the change of the setting to one of modern day, but also the repeated metatextual references and homage paid through characters to the original Bram Stoker novel. The Dracula of this adaptation is supposed to be the very same Dracula from the period described in the original text.
Being a drama television series, Mark Gattis and Steven Moffat also had the opportunity to focus on individual characters in detail rather than cultivating spectacle, and some attempt was made to try and flesh out and further develop the character of Dracula beyond the dimensions of the character in the original Bram Stoker novel. This can be seen in discoveries such as his vampiric weaknesses being psychosomatic, just the result of his overactive fear of death.

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A reboot of Garett Font's Dracula film series, that was itself based on the 1924 stage play Dracula by Hamilton Deane and John L Balderston, which was based off of Bram Stoker's original Novel.
This Modern Adaptation of the story was unique in that despite being a modern adaptation, it cast the setting for its story into an even more archaic time. Unlike Bram Stoker's original story that took place in the 19th century, the events of Dracula Untold take place in the 15th century, roughly four hundred years earlier.
Perhaps in a bid to appeal to a more action oriented audience, the original storyline for Dracula is replaced by one that presents Dracula as a monstrous side to the historical character Vlad III 'the Impaler'. Allowing the writers Matt Sazama and Burk Sharpless to take their version of Dracula in a bloodier, more high-octane direction.

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-Modern Adaptations, and Appearances of the Titular Character-

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-Modern Adaptations, and Appearances of the Titular Character-

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Loosely based on a 2002 book of the same name by Michael Lawrence, the BBC show follows a family of Vampires in England.

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An indie film with a deviating plot from Stoker's original work, it focuses on the sexual themes of the Dracula character. Most notably, Virginity. It was released under the title of 'Andy Warhol's Dracula' for publicity reasons.

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A 2000 remake of Nosferatu.

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Produced by Hustler magazine, the pornographic film credits Bram Stoker as the original author.

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The Muppets and Sesame Street Appearances

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The Muppets and Sesame Street Appearances

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Officially known as 'Count von Count', Dracula first appeared in Sesame Street in 1974. Since then, he has appeared as a regular character on both shows as well as in the Muppet's Movies.

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Often appearing as a member of the Republican Party, Dracula has appeared in eleven episodes of the Simpsons.

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Dracula appearing as a stock character, not as the main narrative driver.

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Mel Brooks' satirical comedy horror film. It deviates from the original novel in the same fashion as the original Dracula adaptation in 1931.

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Based off the original Stoker text, 'Dracula Sucks is categorised as 'gem of horror film' .

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The key villain features as a imitative parody of Dracula, named 'Count Orlok' to avoid copyright infringement. It is one of the first recorded Dracula adaptations.

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Dracula has been a prolific stock character within a variety of children's media. Appropriations of his character and style can range from the original gothic, blood-curdling villain to a comedic and relatable, sometimes even fatherly, figure.

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The gothic horror video game, created in  the 1980s, is set in a version of Dracula's castle and features vampire hunters similar to those in Stoker's novel. Many other myths are present in the narrative, such as Medusa and Werewolves. The character can also shapeshift into a bat, a characteristic introduced by Stoker

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Jarmusch’s 2013 comedy-drama film presents vampires with characteristics that can be traced back to Dracula (e.g. fangs - see above image). However, the film reveals a “humane” side to its protagonists not seen in Stoker’s vampire. It explores their struggle with immortality as they navigate their place in an increasingly modern world. The featured song ‘Soul Dracula’ is a nod to the original text.

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The seven season TV show, adapted from the film of the same name, featured young female vampire slayers, therefore subverting the 'weak female' stereotype of the vampire genre. Buffy's targets are not attractive like Dracula but do have fangs and are undead. Stoker's creation is referenced in the episode 'Buffy vs. Dracula'

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The extremely popular Twilight books, authored by Stephenie Meyer and adapted into five films, modernised the common narrative of a vampire preying on a female human by introducing an element of romance. Whilst the series feels far removed from the gothic horror of Stoker’s text, elements such as its emphasis of both the attraction and threat vampires pose towards humanity can be linked to Dracula. Stoker was the first to imagine an attractive vampire; in previous folklore they were depicted as repulsive. Other characteristics of the Twilight vampires however, such as the vampire’s ability to sparkle, are definitely Meyer’s own innovation.

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To form the image of Dracula, Stoker drew on pre-existing folklore as well as his own imagination. His novel popularised the vampire fiction genre and brought the mythical creature into the spotlight. Today there are many vampire-based narratives which, whilst not being directly related to Dracula, inevitably pay homage to Stoker’s creation.

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Pre-Dracula

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In Stoker's original text Dracula preys upon human women, drinking their blood. Stoker borrowed this concept from vampiric folklore, popularising it, and it has since been repeated frequently in vampire-based fiction. The relationship was only romanticised recently however, in Coppola's Bram Stoker's Dracula. (1992) Often, the woman is depicted as lying down whilst the vampire leers over her - physically demonstrating the power imbalance. Thankfully, this dated concept has been challenged or reimagined in recent years (see Buffy the Vampire Slayer)

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'The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth; these protruded over the lips.' (Excerpt from Dracula)