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Работа на тему: Вампиры-захватчики: кинематографический паразитизм в фильмах ужасов поздне-франкистской эпохи
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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
INVASIVE VAMPIRES: CINEMATIC PARASITISM IN ТНЕ HORROR CINEMA OF ТНЕ LAТЕ FRANCO-ERA / ВАМПИРЫ-ЗАХВАТЧИКИ: КИНЕМАТОГРАФИЧЕСКИЙ ПАРАЗИТИЗМ В ФИЛЬМАХ УЖАСОВ ПОЗДНЕ-ФРАНКИСТСКОЙ ЭПОХИ

42.03.05 Медиакоммуникации Профиль «Кино и медиа»

Тюмень 2023

MINISTRY OF SCIENCE AND HIGHER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Higher Professional Education
«UNIVERSITY OF TYUМEN» SCHOOL OF ADVANCED STUDIES

UNDERGRADUATE THESIS
INVASIVE VAМPIRES: CINEMATIC PARASITISM IN ТНЕ HORROR CINEMA OF ТНЕ LATE FRANCO-ERA / ВАМПИРЫ-ЗАХВАТЧИКИ: КИНЕМАТОГРАФИЧЕСКИЙ ПАРАЗИТИЗМ В ФИЛЬМАХ УЖАСОВ ПОЗДНЕ-ФРАНКИСТСКОЙ ЭПОХИ

42.03.05 Mediacommunications Major «Film and Media Stнdies»

Tyumen 2023

TABLE OF CONTENTS
INTRODUCTION 4
1. VAMPIRISTIC CINEMA: AN EXTERNAL INVADER… 9
2. HUNTING THE UNDEAD 23
3. PARA-SITE: PORTABELLA'S INVASION 33
BIBLIOGRAPHY 40
FILMOGRAPHY 44

INTRODUCTION
The eighth story in «A Little Book of Profitable Tales» by Eugene Field reveals a romantic relationship between the dissimilar inhabitants of the green forest, the mighty oak, and the ivy. The story tells:
Now it came to pass that the ivy loved the oak-tree, and inclining her graceful tendrils where he stood, she crept about his feet and twined herself around his sturdy and knotted trunk. And the oak-tree pitied the ivy.
«Oh!» he cried, laughing boisterously, but good-naturedly, —«oho! so you love me, do you, little vine? Very well, then; play about my feet, and I will keep the storms from you and will tell you pretty stories about the clouds, the birds, and the stars». [Field, p. 108]

Thus begins the story, in which a small parasitic ivy lives in the shade of a mighty oak. The inhabitants of the forest reacted differently to such a couple; some admired their sincere love, while the ash, the protagonist of the tale, speaks unflatteringly about lovers: «the lazy vine has naught to do but to twine herself about the arrogant oak-tree and hear him tell his wondrous stories!» [Field, p. 108]. Suddenly, a strong storm changes the established order of relations. Fairy tale ends with the rescue of the oak, shattered by lightning, by his beloved ivy. Paradoxically, parasitic ivy was the only thing that kept the mighty tree from breaking apart, and the flow of messages changed direction: now the ivy was telling its stories to the tree. This encounter between the mighty oak and the ivy in the greenwood emblematizes the complex relationship between the host and parasite at the intersection of co-dependence, exploitation, and love.

The complexity of the concept of parasitism lies in its essential ambivalence: the parasite can be seen as a contagious infection [Serres, p. x] and as a «fellow guest» [Miller, p. 442]. J. Hillis Miller, discussing parasitic nature, wrote: «parasite” is one of those words which calls up its apparent “opposite», [Miller, p. 442] accentuating the similarity and difference between the parasite and the host. The parasite is «equivalent in status and at the same time secondary or subsidiary», so it does not make any sense without that counterpart, since there is «no parasite without its host» [Miller, p. 441]. In his book «The Parasite», Michael Serres conceptualizes the relationship between the parasite (guest) and the host using the ambivalent French word hote (serves for these both meanings). Playing on the ambiguity of this term, he emphasizes the unstable aspects of relational systems in which the positions of host and guest are not fixed but instead can change in a variety of ways in response to interference. Therefore, the parasite can act as an active operative element of fluctuation, and cause instability. This interference with the previously homeostatic, stable system can lead to changes between the components of relationships, and opens up spaces of transformation. Thus, the host can become the guest and vice versa [Serres, p. 182–98]. Conceptualized this way, the notion of parasitism provided by Michel Serres allows us to think through the radical ambivalence of the parasite.
Discussing parasitism, Serres elaborates on a passage where he characterizes parasitism as a home invasion. A passerby seeking shelter from the rain coming in interrupts the host, the master, while having a meal. The meal is interrupted only for a moment since a passerby is invited to join [Serres, p. 15-17]. Who is the guest here, and who is the host? «Thenceforth, the risk is there, quite literally; one is at the other's mercy. On the contrary, in the villager's house, another country rat», Serres says [Serres, p. 15].
The connection between parasites and vampires can be seen in their hunting habits: taking without giving as the ash talks about the ivy and
«weakening without killing» [Serres, p. х]. Like a parasite, a vampire feeds off its host without providing any benefits in return, gradually weakening the host over time. Vampires drain their victims' life energy; the undead bite leads to illness, weakness, and blood pollution, but never to a final death. Even after the initial killing, the victim turns to the newborn vampire and continues serving its creator. Jeffrey Weinstock writes, «The only thing that absolutely defines a vampire film is the presence of an entity that either drinks blood or, more
loosely, in some way “drains” the life force of someone or something else» [Weinstock, p. 148]. This focus on the vampire as a consumer of resources, whether blood or life energy, highlights the parasitic nature of the creature.
The vampires can also be understood as parasites of domestic and psychic space. As Weinstock notes, vampires can be seen as home invaders, dangerous trespassers that come from elsewhere [Weinstock, p. 17]. The traditional vampire's attack on innocent civilians can be seen as a form of home invasion, as the vampire preys upon individuals in their domestic spaces.
Furthermore, the vampire's hypnotic invasion of psychical spaces highlights the vulnerability of the home as a space of safety and security. This highlights the many connotations of the word «home» — a place of safety and security that can be violated by parasitic invaders, both literal and metaphorical.
In my BA Thesis, I explore the notion of parasitism in the broadest meaning of the term by analyzing two films shot during the late Franco-era: Jesus Franco's «Count Dracula» (1970) and «Vampir-Cuadecuc» (1970) by Pere Portabella.
Jesus Franco's «Count Dracula» is a low-budget commercial motion picture that feeds on the energy from Bram Stoker's «Dracula» (1897), exploiting a popular narrative to profit from an international audience [Edwards, Hoglund, p. 1-17]. The film «Count Dracula» can be considered a conventional take on the vampire genre, loosely based on Bram Stoker's novel. Shot in color, it adheres to the conventions of the horror genre, with a wide use of jump scares, gore, and suspense. In addition, it also has a strong melodramatic undertone, with scenes of exaggerated emotionality and sensuality to reinforce the emotional response from the viewers.
The second film, «Vampir-Cuadecuc» was directed by Catalan filmmaker Pere Portabella. It is a unique and experimental film that offers a critical reflection on the horror genre, while also commenting on the political and cultural context of Spain in the 1970s. The film was shot in black and white, using reversal film stock, which gives the images a grainy and eerie quality. Portabella shot the film during the production of «Count Dracula», so it can be understood as a clear case of parasitism. Portabella took advantage of this situation to use the sets, costumes, and actors from «Count Dracula» to create his own film. In that sense, Portabella's film can be read as truly vampiric, parasitic, fueled by the energy of Jesus Franco's film. In an essay exploring the work of Pere Portabella, Steven Marsh calls «Vampir-Cuadecuc»
«a vampirization of Jesus Franco's “Count Dracula”, whose sets and actors were used by Portabella and his team at the same time with the filming of Franco» [Marsh, p. 552]. Calling the film a vampirization, the author means that the film is «akin to a photo negative of the original» [Marsh, p. 553], in which the actors are not characters as such: they have no depth, no psychology. Thus, they are rather black-and-white shadows of themselves.
Developing on parasitism, Marsh emphasizes the contradictory tension existing in the film between the parasitic exploitation of Franco's film, calling
«Vampir-Cuadecuc» «overtly parasitic in the customary sense of the word» [Marsh, p. 553] and film footage, which complements the film, making it different. Portabella, like an egoistic vampire, hunts «Count Dracula» and invades his narrative, vampirizes the narrative structure and content. However, his invasion is a productive one.
I state that by exploring different types of parasitic relationships, the films reflect the nature of the cinematic medium as a vampire technology: hypnotic and ghostly. By exploiting cinema as a hypnotic vampire technology, Spanish dictator Francisco Franco promoted an ideological narrative about an
external invader and a nation under threat that finds its allegorical expression in the film of Jesus Franco. Positively parasitizing Jesus Franco's film, Portabella's «Vampir-Cuadecuc» carries a shadowy presence haunting the illusion of Francisco Franco’s ideological consistency to provide the critique of purity of both political dictatorship and mainstream cinema.

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