This version of the Dracula legend based on the 1897 Bram Stoker novel is set in the English countryside in 1911 where several village girls have died under mysterious circumstances. Dr. Seward presides over a nearby mental hospital and the locality has acquired a new resident, Count Dracula! A trio of doctors, a young reporter and a stouthearted English lord battle the Count for possession of the lovely heroine. With a dash of Holmesian sleuthing in this Baskerville hound country setting, our heroes save the heroine and dispatch the Count in the traditional manner. -- Publisher.

This is a comprehensive sourcebook on the world's most famous vampire, with more than 700 citations of domestic and international Dracula films, television programs, documentaries, adult features, animated works, and video games, as well as nearly a thousand comic books and stage adaptations. While they vary in length, significance, quality, genre, moral character, country, and format, each of the cited works adopts some form of Bram Stoker's original creation, and Dracula himself, or a recognizable vampiric semblance of Dracula, appears in each. The book includes contributions from Dacre Stoker, David J. Skal, Laura Helen Marks, Dodd Alley, Mitch Frye, Ian Holt, Robert Eighteen-Bisang, and J. Gordon Melton.

In this New York Times bestselling sequel to Kerri Maniscalco's haunting #1 debut Stalking Jack the Ripper, bizarre murders are discovered in the castle of Prince Vlad the Impaler, otherwise known as Dracula. Could it be a copycat killer . . . or has the depraved prince been brought back to life? Following the grief and horror of her discovery of Jack the Ripper's true identity, Audrey Rose Wadsworth has no choice but to flee London and its memories. Together with the arrogant yet charming Thomas Cresswell, she journeys to the dark heart of Romania, home to one of Europe's best schools of forensic medicine . . . and to another notorious killer, Vlad the Impaler, whose thirst for blood became legend. But her life's dream is soon tainted by blood-soaked discoveries in the halls of the school's forbidding castle, and Audrey Rose is compelled to investigate the strangely familiar murders. What she finds brings all her terrifying fears to life once again.

With a legacy stretching back into legend and folklore, the vampire in all its guises haunts the film and fiction of the twentieth century and remains the most enduring of all the monstrous threats that roam the landscapes of horror. In The Living and the Undead, Gregory A. Waller shows why this creature continues to fascinate us and why every generation reshapes the story of the violent confrontation between the living and the undead to fit new times. Examining a broad range of novels, stories, plays, films, and made-for-television movies, Waller focuses upon a series of interrelated texts: Bram Stoker's Dracula (1897); several film adaptations of Stoker's novel; F. W. Murnau's Nosferatu, A Symphony of Horror (1922); Richard Matheson's I Am Legend (1954); Stephen King's 'Salem's Lot (1975); Werner Herzog's Nosferatu the Vampyre (1979); and George Romero's Night of the Living Dead (1968) and Dawn of the Dead (1979). All of these works, Waller argues, speak to our understanding and fear of evil and chaos, of desire and egotism, of slavish dependence and masterful control. This paperback edition of The Living and the Undead features a new preface in which Waller positions his analysis in relation to the explosion of vampire and zombie films, fiction, and criticism in the past twenty-five years.

Providing new and challenging ways of understanding the medieval in the modern and vice versa, this volume highlights how medieval aesthetic experience breathes life into contemporary cinema. Engaging with the subject of time and temporality, the essays examine the politics of adaptation and our contemporary entanglement with the medieval.

In his Preface to The Living Dead: A Study of the Vampire in Romantic Literature, James Twitchell writes that he is not interested in the current generation of vampires, which he finds "rude, boring and hopelessly adolescent. However, they have not always been this way. In fact, a century ago they were often quite sophisticated, used by artists varied as Blake, Poe, Coleridge, the Brontes, Shelley, and Keats, to explain aspects of interpersonal relations. However vulgar the vampire has since become, it is important to remember that along with the Frankenstein monster, the vampire is one of the major mythic figures bequeathed to us by the English Romantics. Simply in terms of cultural influence and currency, the vampire is far more important than any other nineteenth-century archetypes; in fact, he is probably the most enduring and prolific mythic figure we have. This book traces the vampire out of folklore into serious art until he stabilizes early in this century into the character we all too easily recognize.

This engrossing book tells the story of the Florescu family, from its feudal blood ties, to the notorious 15th century figure Vlad Tepes (Count Dracula), right up to present day, touching on such diverse personalities as the Kennedys, Bill Clinton, and Michael Jackson. In the tradition of Alex Haley’s Roots, Dracula’s Bloodline relates a multi-generational saga through the prism of one family’s narrative, from medieval Eastern Europe to the post-Communist era. The book provides an inside look at Romania’s bloody and turbulent history—a mostly untold narrative that embraces the cruel Ottoman invasions, vying boyars seeking to change the political order at home, and the toppling of the Ceausescu regime. The story of each century is told through the eyes of one Florescu (or more) who had a unique perch from which to view his or her contemporary society. Florescu and Cazacu drew on research that had mostly been kept in family hands. To track the Florescu footprint down through the centuries since the 1400s, they used many sources: the Brasov archives in Transylvania, select letters, unpublished diaries, and extensive family documents that have been scattered from Europe to the United States. This fully indexed book offers many photographs from family archives, as well as a glossary of terms and titles, and a full genealogy showing the Florescu’s family links to Vlad Tepes.