“Just a wooden stake”: (de)sensualising Dracula

Hopefully, you are already enjoying your holidays and long winter nights with a good book or an interesting piece of writing. For those of you passionate about vampires and Gothic literature, take a look at Elizabeth Miller's intriguing article Coitus Interruptus: Sex, Bram Stoker and 'Dracula' which dissects Stoker's timeless classic by reflecting on numerous interpretations and critical works which highlight the novel's overwhelming sexuality. Introducing the article, Miller writes that readers of 'Dracula' have been repeatedly assured that the novel is "all about sex" where "every sexual practice has been thrust upon its pages" like necrophilia, fellatio, homoeroticism, bestiality, incest, pedophilia, sexually transmitted diseases and others. Miller argues that:
Words have been twisted to yield new meanings, passages have been examined out of context, and gaps in the text have been declared intentional omissions. Furthermore, critics comb every aspect of Stoker’s life looking for evidence for their particular brand of psychosexual analysis, sometimes even inventing “facts” to support flimsy theories. The preponderance of such readings of Dracula demands re-assessment.
Basically, Miller invites readers to imagine 'Dracula' where a 'wooden stake is just a wooden stake' and 'blood is merely blood'. While Miller does not deny the existence of eroticism and sensuality in the novel, she argues that certain readings' insistence on certain sexual contexts may lead to "reductive textual nit-picking" and could be a consequence of projecting modern sensibilities and discourses of sexuality onto a Victorian text (for example, numerous readings of the scene of Lucy's staking which most popularly refer to phallic symbols, sexual violation and many others). Taking Miller's article and other readings into account, it seems that the extent of sexual contexts, practices and overtones present in 'Dracula' remain shrouded in speculation and mystery. Finally, Miller tellingly concludes the article:
But in the flush of excitement to validate the novel, to give it relevance in a postmodern world, one can too easily fall victim to distortion or even the creation of information to support a theory. That is where, in the view of this writer, we should pull back. For sometimes a wooden stake is just that—a wooden stake.

Peter Hutchings on Horror Film

Passionate about horror film and monsters? We have more resources for you, once again by one of our distinguished keynotes. Peter Hutchings is a Professor of Film Studies at Northumbria University and author of numerous books, articles, chapters, lectures, papers and projects concerning film, horror, monsters and numerous others. For example, his book The Horror Film considers the genre itself and the reasons behind its success with worldwide audiences, potential academic marginalization, controversies and difficulties in defining the genre itself. He explores various issues like vampires, serial killers, sounds, performances, race, class, gender, slashers and post-slashers and offers new perspectives on this fascinating genre. Another useful resource is his Historical Dictionary of Horror Cinema, which follows the evolution of horror film from the early 20th century to present day, offering us a glimpse into zombies, werewolves, vampires, ghosts as well as actors, artists, directors, make-up artists and numerous others whose visions helped shape horror film. If you are interested in his thoughts on genre, take a look at his article on Genre Theory and Criticism available online. Reflecting on his own work and his newest book in preparation on British horror, Hutchings has stated:
Presenting yourself as a specialist in horror has occasionally caused eyebrows to be raised. But for all the disreputability associated with it, horror has been a significant aspect of commercial film production since the 1930s and is an especially notable presence in British film history. Looking at horror with an unprejudiced eye reveals an area of creative activity that is vital and unpredictable and which raises important questions about cultural values and hierarchies.
He concludes by reflecting on horror as a genre, which he considers inexhaustible and ''one of the most internationalized of genres which can potentially shed light on contemporary debates about the globalization if culture''. If you are interested in this fascinating field of research, you might also enjoy his article Uncanny Landscapes in British Film and Television (open access!), where he discusses Britishness, abandoned landscapes, savage, pagan and ancient landscapes and numerous others! And finally, if you have any questions or comments, feel free to write to us!