Bram Stoker's Dracula and its Many Genres

Bram Stoker's Dracula and its Many Genres

Brynne Velia

             Bram Stoker’s Dracula, while viewed primarily as a horror film, is also comprised of elements from several other genres, including, but not limited to, drama, romance and fantasy. The film encompasses aspects of many genres, which supports the idea that “genre films must not only be similar in order to succeed, they must also be different” (Altman 21). Through the use of elements such as lighting and camera angles, Dracula is able to incorporate multiple genres, while still remaining true to audience expectations of a horror film.

            The asylum love scene between Dracula and Mina toward the end of the film exemplifies how these four genres are represented. As the green smoke creeps in through the window of the room in which Mina is sleeping, it is initially viewed as an aspect of horror. This non-diegetic effect is especially horrifying because the room is supposed to act as a safe place for Mina. The smoke moves slowly through the dim-lit room and under the blankets on the bed, increasing the suspense because Mina is not aware of its presence. There is a sudden shift from horror to romance as the camera follows the smoke toward the head of the bed as it pleasures Mina and the audience is left face-to-face with Mina as if from the point of view of someone above her. The haunting familiarity of the voice speaking to Mina adds to the uncanniness of the scene. The camera angle changes, revealing that the smoke has transformed into the “human” form of Dracula. This demonstrates the incorporation of fantasy through the supernatural.

            As the scene continues, the drama genre is executed through non-diegetic means. When Dracula reveals his true identity, Mina is emotionally pained because her lover is also the murderer of her dearest friend. The low-pitched, daunting music in the background is assumedly only heard by the audience. Mina’s emotions rapidly change as she is overcome with love and affection for Dracula, despite his wrongdoings. As Mina’s emotions change, the pace of the music increases slightly and is higher-pitched, aiding in evoking emotion from the audience and stressing the emotional weight of the circumstances. 

           The aspects of romance become prevalent as Mina commits to an eternal life with Dracula. As Dracula is converting Mina to a vampire, the close proximity of the camera to the lovers makes the audience feel as though they are part of the scene. The audience has a front-row seat as the lovers passionately embrace and caress each other as they begin their new “life” together. By focusing the camera solely on Dracula and Mina, any distractions are removed and the viewer can center their attention on the lovers.

           The final part of the scene uses point of view shots to convey the presence of fantasy through the supernatural. The first point of view shot is Dracula looking off into the distance, past the camera. The shot then changes to show the group of men looking in the direction of Mina. Dracula surprises both the audience and the group of men by appearing upside-down as a bat in front of the camera. The shot changes first to the men, showing their reactions, and then to Mina, showing her reaction. The use of point of view shots communicates the horror of the supernatural. The shots change so rapidly that the viewer is caught off-guard by Dracula’s change from man to bat. Dracula’s surprise entrance into the shot evokes an emotional response in the audience, typically seen in horror, while also demonstrating the supernatural elements of fantasy in the scene through Dracula’s change from man to bat. 

Works Cited

Altman, Rick. Film/Genre. London: BFI Pub, 1999. Print.