Abstract
Jonathan Harker’s encounter with the vampire’ sisters’ in Dracula is one of the most famous and notorious scenes in horror fiction:
In the moonlight opposite me were three young women, ladies by their dress and manner. I thought at the time that I must be dreaming when I saw them, they threw no shadow on the floor. They came close to me, and looked at me for some time, and then whispered together […] All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my heart a wicked, burning desire that they would kiss me with those red lips. It is not good to note this down, lest some day it should meet Mina’s eyes and cause her pain, but it is the truth. They whispered together, and then they all three laughed — such a silvery, musical laugh, but as hard as though the sound never could have come through the softness of human lips. It was like the intolerable, tingling sweetness of water-glasses when played on by a cunning hand. The fair girl shook her head coquettishly, and the other two urged her on.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Ruth Bienstock Anolik, ‘The Missing Mother: The Meanings of Maternal Absence in the Gothic Mode’, Modern Language Studies, 33:1/2 (2003), pp. 24–43, p. 25.
Philippe Ariès, The Hour of Our Death, trans. Helen Weaver (London: Allen Lane, 1981), p. 369.
Cynthia Griffin Wolff, ‘The Radcliffean Gothic Model: A Form for Feminine Sexuality’, Modern Language Studies, 9:3 (1979), pp. 98–113.
Ephraim Katz, The Macmillan International Film Encyclopedia (London: Pan/ Macmillan, 1994), p. 889.
Stephen King, Salem’s Lot (New York: Doubleday Dell Publishing, 1975), p. 163.
Mervyn Heard, Phantasmagoria: The Secret Life of the Magic Lantern (Hastings: The Projection Box, 2006), pp. 43–4.
Sheridan Le Fanu, Carmilla, in In a Glass Darkly (Ware: Wordsworth, 1995), pp. 207–72, p. 211.
Dennis Denisoff, Sexual Visuality from Literature to Film, 1850–1950 (Basingstoke: Palgrave Macmillan, 2004), p. 185.
Bret Easton Ellis, American Psycho (New York: Vintage Books, 1991), p. 245.
Christopher Fowler, Hell Train (Oxford: Solaris, 2012), p. 185.
Keith B. Williams, ‘Victorian Cinematicity and H. G. Wells’s Early Scientific Romances’, Comparative Critical Studies, 6:3 (2009), pp. 347–60.
Anthony Paraskeva, ‘Theater, Cinema and Language of Gesture in “Circe”’, in Bloomsday 100: Essays on Ulysses, ed. Morris Beja and Anne Fogarty (Gainesville: University of Florida, 2012), p. 120.
Joss Marsh, ‘Dickensian “Dissolving Views”: The Magic Lantern, Visual Story-Telling, and the Victorian Technological Imagination’, Comparative Critical Studies, 6:3 (2009), pp. 333–46, p. 335.
Richard D. Altick, The Shows of London (Cambridge, MA, and London: Harvard University Press, 1978), p. 116.
Kentwood D. Wells, ‘Magic Lanterns: Christmas Toys for Boys’, The Magic Lantern Gazette, 22:1 (2010), pp. 3–29, p. 4.
Daniel Defoe, The Political History of the Devil, in The Novels and Miscellaneous Works of Daniel De Foe, vol. X (Oxford: Thomas Tegg, 1840), p. 352.
Laurent Mannoni and Donata Pesenti Campagnoni, Lanterne magique et film peint (Paris: La Cinématèque française, 2009), p. 99.
Thomas Wyn (ed.), Delisle de Sales, Théâtre d’amour, et Baculard D’Arnaud, L’Art de foutre, Ou Paris foutant (London: The Modern Humanities Research Association, 2011), p. 191. My translation.
Lynda Nead, The Haunted Gallery: Painting, Photography, Film c. 1900 (New Haven and London: Yale University Press, 2007), p. 50.
Sally B. Palmer, ‘Projecting the Gaze’, Victorian Review, 32:1 (2006), pp. 18–40, p. 26.
Howard Moss, The Magic Lantern of Marcel Proust: A Critical Study of Remembrance of Things Past (Philadelphia: Paul Dry Books, 2012), p. 72.
See Klammer Schmidt’s poem, ‘Der Guckkäster’, in Georg Füsslin, Werner Nekes, Wolfgang Seitz, Karl-Heinz W. Steckelings and Birgit Verwiege, Der Gucckasten, Einblick — Durchblick — Ausblick (Stuttgart: Füsslin Verlag, 1995), pp. 41–5.
Deac Rossell, Laterna Magica — Magic Lantern (Stuttgart: Füsslin Verlag, 2008), p. 118.
Eric Hadley Denton, ‘The Technological Eye: Theater Lighting and Gucckasten in Michaelis and Goethe’, in The Enlightened Eye: Goethe and Visual Culture, ed. Evelyn K. Moore and P. A. Simpson (Amsterdam and New York: Rodopi, 2007), pp. 239–64, p. 246.
Johann Wolfgang von Goethe, The Sorrows of Young Werther (London: Wilder Publications, 2009), p. 25.
Madame la Comtesse de Genlis, Adelaide and Theodore, Or Letters on Education (London: T. Cadell, 1783), p. 52.
Erasmus Darwin, Poetical Works of Erasmus Darwin, Containing the Botanic Garden, in Two Parts, and The Temple of Nature, vol. III (London: J. Johnson, 1806), p. 103.
Author information
Authors and Affiliations
Copyright information
© 2014 David J. Jones
About this chapter
Cite this chapter
Jones, D.J. (2014). Introduction. In: Sexuality and the Gothic Magic Lantern. The Palgrave Gothic Series. Palgrave Macmillan, London. https://doi.org/10.1057/9781137298928_1
Download citation
DOI: https://doi.org/10.1057/9781137298928_1
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-45252-1
Online ISBN: 978-1-137-29892-8
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)