The Kiss Of The Vampire Movie Poster Masterprint (35.56 x 27.94 cm)

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DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry. The advertisement uses a commonly held ideology of the 50's that all women should be housewives while there husbands work and earn money. The advert depicts a woman who's hair, clothes and make up have been used to represent the average housewife, thus appealing to a wider audience. The use of a ‘painted’ main image is highly conventional of films of the period and links to the poster for Christopher Lee’s Dracula, but the fact that it’s in colour (anchored by the text “In Eastman Color”) connotes that this is a modern telling of an older story.​

Historically, 1963 saw the early stages of ‘Beatlemania’ and the so-called ‘swinging sixties’, the assassination of JFK and the Soviet Union launching the first woman into space. Gauntlett’s identity theory can be applied to the film poster. The inclusion of the female vampire could act as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment. Without 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.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. Hall’s theory of representation can also be applied. 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. An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration. The Tide advert, produced in the 1950's, shows a woman dressed as a stereotypical house wife hugging a box of Tide washing power.

Stylish Hammer production involving a honeymooning couple lost in the Bavarian woods and their encounter with a (literally) hypnotic doctor who lives in a castle, which is a front for a cult of vampires. The couple are invited to attend a masquerade party there and (big mistake) they accept. Barber, Ryne (30 June 2020). "Kiss of the Vampire Blu-ray Review (Scream Factory)". Cultsploitation. Archived from the original on 9 July 2020 . Retrieved 10 July 2020. Originally intended by the studio as a Dracula film, the count's name is never mentioned in this film. The young couple (Edward De Souza, Jennifer Daniel) have much of the screen time and are both pretty bland as performers. De Souza's character is a bit of a dope (at least to experienced horror fans who can well see ahead in the story as to what is about to happen to them) while Daniel adequately serves her role's requirements by being young and attractive. Let's face it, folks, the cult of vampires don't want her attendance at the party because of her conversational ability. Gerald and Marianne (Edward de Souza and Jennifer Daniel) are uneasy guests in The Kiss of the Vampire (Hammer 1964) x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad. BRITISH Posters

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. Gesture of women on the left is a stereotypical of passive victim of the monster. Highlighted from the fact that hes holding herby just one arm.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 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. 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). Rigby, Jonathan (July 2000). English Gothic: A Century of Horror Cinema. Reynolds & Hearn. ISBN 978-1903111017. OCLC 45576395. White color of title is used to contrast darkness of main image. May potentially link to innocence of victims.

The doctor insists that the young couple attend the lavish masquerade ball that he is hosting the next night, and neither husband nor wife finds this strange. This must be the way that they party down in the mountains of Bavaria. We soon discover that Professor Zimmer likes his brandy a little too much and that he just buried his daughter in the village. Perhaps that explains his close lipped ways; the man is obviously grieving the loss of his daughter. Sharp enjoyed making the film and later said Tony Hinds was the best producer he ever worked with. [5]

Follow's code's and conventions of a 'monster movie' film poster. It represent's the monster and a female victim and also uses font's that had featured on this type of poster before as well. The setting of the image uses low key colours, and the MES of the women's costumes contrasts highly with this, presenting a pleasing binary opposition to the target audience. Barthes’ theory of semiotics can be applied. Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires and the fate of their two victims. Semantic code could be applied to the images of the bats and their conventional association with vampirism and horror in general. The symbolic codes of horror, darkness and fear are more widely reinforced through signifiers such as the male victim’s gesture code.