MES of hair colour: victim's blonde. Hammer films made heavy use of typecasting, casting the same kind of hegemonically attractive woman over and over again. Blonde hair here is symbolic of hegemonic attractiveness, and reinforces certain stereotypes about the value of women The 1960s is often seen as the start of women’s sexual liberation, aided by events such as the introduction of the contraceptive pill in 1960. More women than ever were entering the paid workforce and sixties feminists were campaigning for equal pay, an end to sexual harassment and more equality between men and women in wider society. In America, equal pay legislation was passed in 1963. Kiss of the Vampire has a relatively good script, some very lush sets, a moving score composed by James Bernard, and some excellent acting; all in all this is an interesting film that shows the studio at its best, even without all of the familiar suspects. MES of revealing costumes. Nightdresses are connotative of sex and sexuality. In particular, these nightdresses emphasise cleavage and the breasts of the female characters James Bernard supplies a big, booming musical score bringing impact to the visuals and handsome sets, in much the same manner as he had a few years before with Horror of Dracula. The climax, originally intended for that of Brides of Dracula, has special effects that seem barely adequate by today's standards but still remain fun to view even if you can't take them too seriously.

MES of the male vampire's face is one of fear. This is highly atypical of a conventional vampire film where vampires are typically represented as evil and fearless A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.Kiss of the Vampire (also known as Kiss of Evil on American television) is a 1963 British vampire film made by the film studio Hammer Film Productions. The film was directed by Don Sharp and was written by producer Anthony Hinds, credited under his writing pseudonym John Elder. Rigby, Jonathan (July 2000). English Gothic: A Century of Horror Cinema. Reynolds & Hearn. ISBN 978-1903111017. OCLC 45576395.

Victim woman is draped unconscious in the arms of the antagonist which constructs him as both stronger and more masculine, which reinforces a stereotypical 1960's stereotype of the roles of men and women A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears. Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires (emphasised by the “kiss” of the title) and the fate of their two victims (Barthes’ Hermeneutic Code). KOTV shows females as victims and as powerful figures as you can see one women being killed and anothe killing a man. This shows that women at the time could either be housewifes or workers. However in CACV you can see 2 women standing with male teamates and against male opposition. They arent facing themself which means that they may fight the men which sows equality as they all have to fight eachother to win and not just their own genders.the images of a castle, bats, the vampire’s cape and dripping blood form part of the “shared conceptual road map” that give meaning to the “world” of the poster. The audience is actively encouraged to decode this familiar generic iconography.

Both women wear pale dresses made of light materials and these dress codes serve to reinforce their femininity by highlighting the curves of their bodies and revealing the flesh of their upper chests and arms. Thompson, Howard (10 October 1963). "Screen: Knights and the Supernatural". The New York Times: 49. her expression codes her as being a monstrous, violent, dangerous woman, which subverts the idea of the male gaze Male vampire has a terrified expression, which is a clear subversion of genre conventions and subverts the stereotype that men are strong, powerful and active

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The primary audience of this advertisement is the housewives of the 1950's who would have been using the product on a daily basis. The producer of the advert has cleverly used an average looking woman as the main model for the ad because the women who see this advert will be able to compare themselves to her. This causes the viewer to see how in love the woman is with this product, making them believe that they will be in love with the product too if they buy it. The secondary audience for this product are the men who are married to the housewives. When men look at the ad they will likely think of their wives and how much they would love this product, making them want to buy it for their wives, therefore making the company more money. Paul Gilroy argued that we still have systemic racism in the UK today, which are based on stereotypical and repeated assumptions about certain groups of people QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork. FRENCH Posters The dominant gesture of the female vampire places her in a position of hierarchical power over the male victim, which is highly subversive

The additional footage shot for the televised version revolves around a family, the Stanghers, who argue about the influence of the vampiric Ravna clan but never interact with anybody else in the movie. The teenage daughter, Theresa, throws over her boyfriend in favor of Carl Ravna (unseen in these scenes) who has given her a music box which plays the same hypnotic tune that he plays on the piano elsewhere in the movie. Additionally, even though unconscious, she is thrusting her exposed cleavage forward, a clear example of sexualisation. Women are often sexualised in media products for financial purposes, as this allows the product to target heterosexual male audiences Generic fluidity: this sexy vampire film has evolved in to far more explicit erotic and romantic vampire films of the present dayWithout the fearful presences of Peter Cushing or Christopher Lee, Hammer tried once again to make a vampire film, but without the count and even though The Kiss of the Vampire is not a gore fest, it still manages to convey some of the gothic horror that the studio became famous for. Originally intended to be the third movie in Hammer's Dracula series (which began with 1958's Dracula with Christopher Lee and Peter Cushing, and was followed by 1960's The Brides of Dracula with Cushing alone), it was another attempt by Hammer to make a Dracula sequel without Christopher Lee. The final script by Anthony Hinds makes no reference to Dracula and expands on the directions taken in Brides by portraying vampirism as a social disease afflicting those who choose a decadent lifestyle. Dresses were made of light material to highlight their curves and revealing the flesh of arms and chest's What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd." [2] A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.