Adriaan de la Rey 050082

The depiction of the devil in Western visual culture: The evolution of the image of devil in visual arts and ultimately in modern film as a symptom of the time.

Supervisor: Hougard Winterbach October 2009

Mini-Dissertation in partial fulfilment of the requirements for the Degree in Visual Communication The Open Window School of Visual Communication

ABSTRACT

The depiction of the devil in Western visual culture: The evolution of the image of devil in visual arts and ultimately in modern film as a symptom of the time.

This study shows how the character of the devil in art is an expression of a specific societys hidden fears and desires. I provide a short history of the devil and place it into the context of the Christian Western world. The concept of the unconscious shadow archetype expressing itself collectively as a devil type figure in art is discussed. Theoretical insights from psychoanalyst Carl Jung and Sigmund Freud are discussed to define the expression of the shadow archetype and how devil type figures in art is a collective expression of societys fears and desires. Examples of this symptomatic relationship are shown with relation to Dantes inferno and the Middle Ages with relevant artworks. Then a couple of hundred years later in John Miltons Paradise Lost and the English Revolution again with relevant artworks. A further look at Bram Stokers Dracula in the Victorian Era and the expression of the new shadow character the vampire in film with F.W. Marnus Nosferatu: a symphony of horror. A analysis of the film in relation to the unconscious and the shadow as put forth by Carl Jung. A brief look at the state the vampire finds itself in almost a hundred years from its first appearance in film. This all serves to show how the shadow aspects of a society become projected on to the vessel best suited for its time.

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CONTENTS
CHAPTER 1: CONTEXTUALISATION AND INTRODUCTION TO THE DEVIL 1. background, contextualization and aim 1.1. contextualization

1.2. definitions 1.2.1 who is the devil? 1.2.2 history of the devil 1.2.4 defining evil

1.3 . research problem & sub-problems

1.4. methodology and design 1.4 1. methodology 1.4. 2. chapter division

CHAPTER 2: IDEAS FROM PSCYHCOANALYSIS: A THEORETICAL BACKGROUND 2.1. the unconscious and the collective unconscious 2.2. archetypes 2.3. the shadow archetype and projection

CHAPTER 3: THE CHANGING FACE OF THE DEVIL: THE VAMPIRE AS THE ACHETYPAL DEVIL OF FILM 3.1. Introduction

3.2. the middle ages the devil and dante 3.2.1. social and historic context: medieval society. 3.2.2. dantes inferno 3.2.2.a) summary of the devil and hell iii

3.2.2.b) analysis

3.3. the english revolution and miltons noble satan 3.3.1. social and historical context 3.3.2. paradise lost 3.3.2.a) summary of paradise lost 3.3.2.b) analysis

3.4 victorian conservatism and ideals in stokers dracula 3.4.1. historical context 3.4.2 .bram storkers dracula a summary 3.4.3. the vampire in the film nosferatu: a symphony of horror 3.4.3. a) history of the film 3.4.3. b) synopsis 3.4.4. The Vampire as the shadow of Victorian society 3.5 how has this image progressed 3.5.1. twilight 3.5.1.a ) synopsis 3.5.1.b ) a brief comparison of Edward and count orlock

CAPTER 4: CONCLUSION BIBLIOGRAPHY

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LIST O FIGURES

Figure 1: Angelico, F. 1432-1435. Das Jngste Gericht. (File: Fra Angelic, 2009). Figure 2: Angelico, F. 1432-1435. Das Jngste Gericht.(Detail) (File: Fra Angelic, 2009). Figure3: Caymox, B. 1623. Engraving of Lucifer (Melange, 2008.) Figure 4: Dor, G. 1857. Santan trapped in ice. (Artpassions 2009.) Figure 5: Dor, G. 1857. Illustration for paradise lost 1. (Artpassions 2009.) Figure 6: Dor, G. 1857. Illustration for paradise lost 2. (Artpassions 2009.) Figure 7: The figure of Count Orlock. 1922.Nosferatu: a symphony of horror. (screenshot). Figure 8: The shadow of Count Orlock . 1922.Nosferatu: a symphony of horror. (screenshot). Figure 9: Ellen gripping her breast. 1922.Nosferatu: a symphony of horror. (screenshot). Figure 9: The shadow of the count gripping her breast. 1922.Nosferatu: a symphony of horror. (screenshot). Figure 10: Edward Cullen the vampire from twilight. 2008. Twilight. (screenshot).

CHAPTER 1: CONTEXTUALISATION AND INTRODUCTION TO THE DEVIL 1. background, contextualization and aim 1.1. contextualization The idea of the devil and evil has been with us through the ages and is deeply rooted in man and in every culture. Paul Carus, historian and author of The History of the devil, explains that our world is one of dualism and that the basic opposites of light and dark gave rise to happiness and fear, good and evil and finally to God and the devil (Carus 1900:1). Once the idea of God was established we can find a whole host of art, folktales, stories and texts in which the devil became a prominent feature. Every age has its devil and a society unconsciously chooses a face for the devil as a reflection of their repressed fears and desires. This image came alive in various literature and visual art forms.

From the earliest of times these visual depictions and descriptions of the devil were filled with unknown horrors playing with the shock, fear and awe value of these frightening imagery aligning it with Christian symbols to create a quasi-religious experience. These images explore the darker side of us and our lives showing unsettling scenarios of fear and the unknown. They raise the uncomfortable and forbidden questions and realities we consciously ignore and shy away form. They explore our most primal and troubling unconscious questions. It forces us to take a look at our fear of death, sexuality and various vulnerabilities and uncertainties of the human condition. It forces us to look at our own fall into sin and the actions societies deemed as wrong and a transgression against God. If we look at the Das Jngste Gericht (see Figure1) from 1432 by Fra Angelico all of these questions can be seen in the dualistic way of thinking presented in this painting. We see the blissful paradise on the one side. A coffin lies in the centre as doorway to the afterlife and a divide between heaven and hell. On the right side we see a dark cave in hell with the devil in its centre. Here helpless figures are trapped and being tortured in graphically painful ways. In Figure 2 shows the detail from Das Jngste Gericht we can see all of this being attributed to the beastlike character of the devil.

Figure 1: Angelico, F. 1432-1435. Das Jngste Gericht.

Figure 2: Angelico, F. 1432-1435. Das Jngste Gericht, Detail. Kevin Wyman a theology scholar explains in The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema, that :.. beastlike representations were the most common in the Middle Ages... (Wyman 2004). This is true if we look at the visual description given in the 1308 epic poem The Divine Comedy by Dante Alighieri. In an English version of the 2

canto hell Sayers translates Dantes description of the devil as being a physical character, a huge man beast with six wings and three mouths that is confined to the depths of hell in ice. He is busy consuming the main traitors from Christianity and antiquity (Alighieri 2001:220). Example of this depiction can be seen in Figure 3 by Balthazar Coymox. But in the same text Wyman also mentions that there is already a psychological awareness that evil is part of human make up. He states that: ...Evil walked in solid, if invisible, substance at ones side and crouched when one was quiet in the dark recesses of room and mind (Wyman 2004).

Figure 3: Caymox, B. 1623. Engraving of Lucifer Many years later with the advent of the medium of film at the end of the nineteenth century the devil made his first on screen appearance in 1896, and this is according to Charles Mitchell, writer of The Devil on Screen Feature Films Worldwide,1913 through 2000. The Devils Manor was made by director George Mlis who also played the character of the devil in the film. Mitchell continues 3

saying that from this point on the devil has appeared in almost all genres of film taking on many guises, shapes and forms (Mitchell 2002:1,305). But it was in the genre of horror where the same shock and awe imagery and symbols from religious paintings statues and facades found its new home in the eye of the mass public, taking with it the symbolic religious imagery associated with it and also its main protagonist the devil character.

Brian Stone another theology scholar in an essay The sanctification of fear: images of the religious in horror films supports this fact and he explains that the most popular themes, legends and characters in the genre of horror has spawned out of the religious themes and symbols from the Western Christian traditions. (Stone 2001). In the 1922 Nosferatu a symphony of horror directed by F.W. Marnus the film starts with a hand written manuscript bearing the trinity of Christian crosses and the words stating: Nosferatu does this word not sound like the death bird calling your name at midnight? Beware you never say it- for then the pictures of life will fade to shadows, haunting dreams will climb forth from your heart and feed on your blood (Nosferatu. 1922). This is a clear personification of evil or a devil character constructed within the religious framework of Christianity in its new fictional world of horror. Stone further states that: Horror films frequently construct evil, for example, even if unconsciously, within familiar religious coordinates - and in the West that has meant specifically Christian coordinates... (Stone 2001). It constructs the character of the vampire on an idea that there might be an old lost manuscript containing a long lost Christian truth or commandment. And so the character of the Nosferatu, the vampire became a new vessel for the concept of the devil to manifest and play itself out in.

As societies grew changed and evolved so did the idea of the devil and evil as well the images stories and myths grew and evolved reflecting and capturing the fears and desires caused by the social conditions and change of that specific moment. But why was there a need for man to produce imagery of the devil? It might be that

in every age the imagery of the devil becomes a metaphor of the moral condition of man as in each new age man has new problems and demons to face. So just as in each era before a new scape-goat more in line with the times stepped into the light casting a more familiar shadow of the times into the public eye.

But what appeals to us in facing the uncomfortable and forbidden questions about the human condition, presented in the character of the devil? I will continue to explore this question along the lines of dualism. And then take a look at the human psyche. It becomes split into the pair conscious and unconscious. Could it be that the representations of the devil has a collective psychological function within a given society? In understanding movies the tenth edition Louis Giannetti notes that both the major figures of modern psychology Sigmund Freud and Carl Jung had believed that:
...art is a reflection of underlying structures of meaning, that it satisfies certain subconscious needs in both the artist and audience ( Giannetti 2005:386).

So there does exist a need for art and so the images of the devil. But what is this underlying structure of meaning that is mentioned in the above quote? Berger, a media analyst in Media analysis techniques explains in the chapter on psychoanalytical criticism notes that one of the first and most basic models of the human psyche is that of the father of psychology Sigmund Freud. He believed we mentally functioned in an interaction between the conscious part of the mind and the unconscious. He notes that we are not fully aware of all the contents of the mind as we hide and repress certain parts of ourselves in the unconscious. And that the unconscious content plays a huge part in our everyday conscious decisions (Berger 1993: 75, 76). People have always feared that which they could not understand within themselves and society. So these ideas gets ignored and placed in the back of the mind fermenting, growing and eventually expressing themselves in one way or another. So there is a need for a safe place to face and deal with these fears and desires separate from themselves. I believe these characteristics are then assigned or 5

projected to a devil type figure separate from the individual themselves where they could safely look at what they fear on the one hand and admire its power and freedom on the other. These images gave a place to express explore and to define the morality and ideas of that certain time. Giannetti in understanding movies tenth edition explains that social and intellectual anxieties of a given era and nation will find expression in its art (Giannetti 2005: 385). How does this relate to the character of the devil ?

Brian Stone in an essay The sanctification of fear: images of the religious in horror films also notes this fact that: ...the projection of evil onto monsters or demonic persona frees the viewer from responsibility for evil... (Stone 2001). Although I agree that an individual can project evil on to these characters. I would like to argue that through this process we unconsciously take responsibility for evil as you can safely deal with these ideas separate from our reality. So there seems to be a need for these characters so we can safely explore, deal and separate these threatening undesirable ideas from ourselves. And then afterwards one can easily slip back into society and its rules and structures having dealt with these issues.

But what about the devil on a collective level ? Frieda Fordham a scholar of the Jungian school of psychology in her book Introduction to Jungs psychology explains that Jung named these undesirable aspects of ourselves the shadow and looks at how it expresses itself collectively. She says :

The shadow is also something more than the personal unconscious -- it is personal in so far as our own weaknesses and failings are concerned, but since it is common to humanity it can also be said to be a collective phenomenon. The collective aspect of the shadow is expressed as a devil, a witch, or something similar (Fordham 2007).

Tying these ideas together I state that the character and artworks of the devil becomes a symptom that shows the communal and personal fears in a period of history for a social group with similar concerns. The devil figure in art becomes a vessel where these symptoms leaks onto a conscious level. 6

I will take a very brief look at the devil in three ages showing a popular image of the devil in that time period relating it to a relevant work of literature as well as examples of art showing the depiction of how the sociological environments might have given rise to the devil and evil being depicted in specific ways. This will illustrate that the devil and evil in each age has had a public persona reflecting the social environment of the time. I will in essence look at the public persona in which the shadow archetype becomes personified in a collectively projected image in art and literature as the devil figure. I will try to prove that the character of the vampire surfaces as the main vessel figure from the advent of the medium of film and in our age.

1.2. definitions In order to do what is mentioned in the previous paragraph a basic foundation of definitions must first be established. Firstly, what is modern Western society? According to Wikipedia, this includes all countries today that have relatively stable political and capitalist economic structures set on the basis of a democratic governing system. This is mainly countries previously colonized by European derived nations for example England and Spain. This was done under the guise of spreading the Christian gospel (Modern definitions, 2009). Then Christopher Dawson, a historian on Western culture explains in The study of western culture (Dawson .s.a.), that the Christian religion and the handed down customs of the classical cultures of the ancient Greeks and Romans has had the greatest and lasting impact on Western civilization. So the Christian religions ideas and morality is still entrenched within the Western world. So there is still a belief in God and in the devil.

1.2.1. who is the devil? Secondly, who is the devil in modern Western society? As a basic starting point the Cambridge International Dictionary of English (Procter 1995:378) says the devil is: an evil being often represented in human form but with a tail and horns. This definition goes on naming the devil as the root of all evil and also says that in 7

Christianity the devil is Gods primary enemy (Procter 1995:378). The dictionary further refers you to the word entry on Satan, which the Online Etymology dictionary that looks at the origins of the word, says it was first found in the Vulgate, an early Latin version of the bible, explaining that it refers to the main evil spirit within the Christian religion. Here it also mentions its origins in the Hebrew language as the word Satanas which means adversary or someone who sets obstacles in the path of another (Satan 2001). Then Occultopedia, an occult encyclopaedia says that the devil is the anthropomorphic personification of evil (Devil 2001). So from this I gather that the devil represents the negative beastlike qualities found in animals combined with the unpredictable, unknown and supernatural, all the while still exhibiting physically recognisable human qualities. All the while standing in the way of what is right and just. But the devil as character shifts and changes form and name as a concept of intertwined ideas of that what is feared and unknown. Be it Satan or vampire.

1.2.2. history of the devil In an essay MYTHS OF MODERN INDIVIDUALISM Faust, Don Quixote, Don Juan, Robinson Crusoe literary historian and critic Ian Watt notes that the reason for the entrenchment of the devil in Western Culture is that in AD 547 the belief in Satan was made to be a law according the Council of Constantinople (Watt 1996:13). Wyman, a theology scholar, in his essay The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema, also notes the date AD 547 saying that Satan was declared eternal and elaborates that from this point on the Christian Church now had reason to task artists to make visual representations of the devil (Wyman 2004).

In film there are still many references to these earlier Christian devil figures and has become a hybrid of linked ideas. In the1987 film Angel Heart when the devil character Louis Cyphre, in the guise of a neatly dressed man reveals his true identity to Harold Angel, he is met with disbelief and laughter. He identifies himself as Lucifer, Mephostophiles and the devil. To end this argument Louis Cyphre responds: 8

If I had cloven hooves and a pointed tail would you be more convinced? (Angel Heart, 1987). Louis Cyphres last statement refers to one of the earliest and classically inspired images of the devil. The Greek god pan, had a very similar appearance to the one given above, being half goat and half man. Chua-Eoan a journalist for Time magazine explains that as the Christian religion spread and overcame the ancient traditions of the Greeks and Romans, their previously powerful gods became the inspiration for the image of the Christian devil in Western Europe. This is true of the horns and hooves of the Greek god pan because of his seemingly lustful and playful deception was associated with the Christian devil (Chua-Eoan 1993).

Then the name Louis Cyphre that is also mentioned above refers to the biblical fallen angel Lucifer. The Occultopedia, an online occult encyclopaedia explains the tale of Lucifer and says he was Gods most beautiful angel. He tried to overthrow heaven along with a horde of rebel angels. For this he was cast out of heaven by the archangel Michael and banished into hell and is from then on known as Satan (Lucifer, s.a.). The online Etymology dictionary explains that the word refers to the Latin meaning of Lucifer as light bearer and further refers to the planet Venus also known as the morning star. The following quote from the New King James Version of the Holy Bible speak of his fall from grace:

The Fall of Lucifer

12 How you are fallen from heaven, O Lucifer, son of the morning! How you are cut down to the ground, You who weakened the nations! 13 For you have said in your heart: I will ascend into heaven, I will exalt my throne above the stars of God; I will also sit on the mount of the congregation On the farthest sides of the north;

14 I will ascend above the heights of the clouds, I will be like the Most High. 15 Yet you shall be brought down to Sheol, To the lowest depths of the Pit. (New King James Version of the Holy Bible Isaiah 14: 12-15).

The fact that the devil appears in the Holy Bible and is called by so many names is also pointed out in 1969 by Anton Lavey the founder of the church of Satan, who also wrote The Satanic Bible, in this book his main arguments centre on the grounds of attacking the Christian religion. However in the chapter on Hell the Devil and how to sell your soul he points out, where the devil has appeared in a whole host of cultures and religions throughout history. Lavey here highlights the most prominent devil names in Western culture and to Christianity. These names are: Satan, Lucifer, and Belial. He also mentions the name Dracula as the Romanian name for devil (Lavey, 1969: 30, 31).

But the devil most certainly did not only appear in The Holy Bible. Its tales inspired many of the main works of Western literature. Charles Mitchell author of The Devil on Screen Feature Films Worldwide, 1913 through 2000 notes these three texts: The Holy Bible, The Divine Comedy (1308) by Dante, Paradise Lost (1608) by John Milton and lastly Faust (1749) by Johann Wolfgang Goethe (Mitchell 2002: 1,2). Paul Carus also mentions these texts in The History of the Devil (Carus 1900:408-438).

The images of the devil were both inspired by these texts and the image grew with each new social change and this can be noted in the interpretation of the devil in various imagery. The image of the devil has always lived in the public arena in the various interpretations in scripture and literature to the paintings, illustrations, sculptures and facades in churches and finally the cinema screen. The mass public of the middle ages through to the early Victorian era mainly viewed the art that asked questions about the morality of their day (and so the images of the devil) in places of mass gathering for example in churches. But today the only place that has the same mass attendance for viewing a form of art is our cinemas. 10

Kelly Wyman a theology scholar writes in a article The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema says early Christian art and its illustrations of the devil can be compared to modern day American cinema:

it was the medium and message for the illiterate masses. Americans are generally literate, but the accessibility of movies makes them one of the mediums most available to the masses. Many Americans watch television and go to the movies more than they read or view art, so what they see on screen has the possibility of becoming the only visual representation they have of Satan (Wymann. 2004).

From this short introduction the impact the images of the devil has had on our imagination and history is clear as the ideas of old still filter through into mass cinema. So basically none of the previous devil figures fall away but it only highlights one of the devil main characteristics. This characteristic is that he changes shape and form along with society and becomes collectively realigned to be the new scape-goat helping to define moral issues and questions of the day. The medium of film gave rise to the cinema and has become the new public arena where the uncomfortable and forbidden questions of a specific society are explored as symptoms of the time. The genre of horror continues along with the quasi- religious found in Christian artworks and tendencies exhibited in the frightening visual depictions and descriptions of the devil. The devil character becomes the poster boy for exploring anything unknown that scares us.

1.2.4. defining evil So then what is the definition of evil? Again according to the same dictionary, the Cambridge International Dictionary of English, evil is: immoral, or cruel or very unpleasant (Procter 1995: 474). But this is a very limiting definition that ignores the idea of context. Especially if one can understand that morality is different in each culture and age. Two psychiatrists, James Hall and Geoffrey Raff, say in an article Thoughts on the nature of evil: 11

what qualifies as evil can be found in the overall situation. If the act forms part of a whole, shares in a balance with other forces and experiences, it cannot be called evil. It is only where the action is out of balance with the whole and is not in harmony with other forces that it appears as evil(Hall, Raff 2006: 30, 29).

So evil or acts that are seen as immoral, cruel and unpleasant are the result of an negative imbalance existing within the context one is looking at. What must also be understood is that what I mean by the context for this discussion is to give ideas around morality in the exploration of the uncomfortable and forbidden questions in its historical time frame. But I simplify it again to the basic dualistic way I am approaching this dissertation: there is good and evil, God and the devil.

1.3. research problem & sub-problems I want to prove that images of the devil are metaphors of the collective unconscious and the shadow archetype expressing the hidden fears and desires of a society. That gets projected on to a devil figure. And that today we can find this collective image in cinema manifesting itself as the vampire still expressing our unconscious concerns. I will do this by looking at the following questions.

1. Does each age have its own devil figure? 2. Why does this image change? 3. Can this symptomatic between the change in the devil figure and a societies negative aspects be explained or aligned with the collective unconscious and the projected content of shadow ? 4. Has the figure of the vampire become a vessel for the shadow content in our age?

I believe the modern vessel onto which the shadow content is projected onto is the figure is the vampire. I will align and explore this with ideas from psychoanalytical criticism and the structure of the human psyche as put forth by the fathers of modern day psychology, Sigmund Freud and Carl Jung. I will keep my focus on the 12

collective unconscious and the shadow archetype to point out the link that exists between the devil character and societies collective unconscious fears and desires as it gives a vessel for the archetype of the shadow to express itself. I will also refer to articles from the online journal of religion and film as the devil character features most prominently in religion. Then I will look at short passages in literature and look at religious paintings and lastly explore the mass medium of our day film. The film I will be looking at is F.W Marnus 1922 Nosferatu a sympthony of horror and secondly I will take a brief look the more recent vampire films Shadow of the Vampire and Twilight. Next I will attempt to set up a theoretical framework based on the ideas found by the psychoanalysis of Carl Jung and others form where I can properly base my argument.

1.4. methodology and design 1.4 1. methodology I will use various books of which the most important are: The History of the Devil by Paul Carus, an historian. The Devil on screen feature films Worldwide, 1913 through 2000 by Charles Mitchell. The New King James Version of the Holy Bible. The Divine Comedy, written by Dante Alighieri in 1308 in Italy. Paradise Lost, written by John Milton in 1608 in England. Dracula, written by Bram Stoker written in 1897 in Ireland.

Then I will source various articles on psychoanalytical criticism from the internet and books. Working mainly with the ideas from Carl Jung and Sigmund Freud, as they discussed by various media analyst and psychoanalysts

Then I plan to use various internet articles from The Journal of Religion and Film, a peer-reviewed online community who analyse film from a religious point of view and exploring subjects such as the devil in film. I will also source various articles available on the internet. I will also use reference to various artworks from various artists as is needed. I will get them from art history books and online museums galleries. 13

Then lastly the films I will be looking at for analysis I will gather on DVD. These are: Nosferatu: a symphony of horror (1922). Twilight (2008).

I plan to do an explorative study into the depiction of images of devil and how this depiction has changed. And then attempt to align it with various ideas from psychoanalytical criticism.

1.4. 2. chapter division CHAPTER 1: CONTEXTUALISATION AND INTRODUCTION TO THE DEVIL I will introduce my understanding of the devils origins and basic definition of his names and who and what he might be in Western Society today. I will very shortly discuss the devils appearance in various stories, literature and film. Then I will set out my problem statement. Along with this I will introduce the definitions I plan to use for important terms and concepts. These will include Western Culture and evil .

CHAPTER 2: IDEAS FROM PSCYHCOANALYSIS: A THEORETICAL BACKGROUND Then I will introduce various articles on psychoanalytical criticism and explore the concepts the unconscious and the collective unconscious , archetypes and the the shadow archetype and projection as presented by Carl Jung and Sigmund Freud.

CHAPTER 3: THE CHANGING FACE OF THE DEVIL: THE VAMPIRE AS THE ACHETYPAL DEVIL OF FILM Here I will look at various image or description of the devil and relate them to the societal conditions and of that specific time period as well to the shadow archetype as put forth by Carl Jung. This I will do with realtion to The Divine Comedy,written by Dante Alighieri and the middle ages. Paradise Lost, written by John Milton and the English revolution. The film Nosferatu: a symphony of horror (1922) and the end of the Victorian age. 14

And then finally the film Twilight (2008) our current age. While always looking at the images of the vampire and devil as a vessel for the shadow content of a specific society.

CAPTER 4: CONCLUSION

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CHAPTER 2: IDEAS FROM PSCYHCOANALYSIS: A THEORETICAL BACKGROUND In this chapter I will put forth a theoretical platform form where I will explore how the collective unconscious and the shadow archetype finds metaphorical expression within the figure of the devil character in art. In order to do this, I will look at what is the symptomatic relationship between art, society and the collective unconscious is, as put forth by psychologists Sigmund Freud and Carl Jung. Firstly I will define what the unconscious part of the human psyche is. From here I will look at the collective unconscious and archetypes. Then how and what function he assigns to this in relation to the human psyche. And then lastly the shadow archetype, and how it can become collectively projected on to a devil figure in art.

2.1 . the unconscious and collective unconscious I will start here from the first definition already mentioned in the introduction. Berger a media analyst in Media analysis techniques, explains in the chapter on psychoanalytical criticism, that one of the first and most basic models of the human psyche, is that of the father of psychology Sigmund Freud. He believed we mentally functioned in an interaction between the conscious part of the mind and the unconscious. He notes that we are not fully aware of all the contents of the mind as we hide and repress certain parts of ourselves in the unconscious. And that the unconscious content plays a huge part in our everyday conscious decisions (Berger1993:75, 76). This gets us to a basic understanding that we can never fully understand ourselves as the conscious part of us can never become fully aware of the unconscious part. But if we can distinguish between the two, we must be able to identify or in the least be able to explore the unconscious to a certain degree.

On the point of what we do understand about the human unconscious, Peter Barry explains in Beginning theory that for Freud the unconscious is where we hide or repress anything we cant consciously deal with such as hidden desires, unsettled struggles and fears (Barry 2002:98, 97). Frieda Fordham a scholar of the Jungian school of psychology in Introduction to Jungs psychology agrees with this point and 16

notes that the personal unconscious is : formed from his repressed infantile impulses and wishes, subliminal perceptions, and countless forgotten experiences (Fordham. 2007). But if it is possible for one to speak of the unconscious in such a manner, then one must be able to see examples or at least traces of the unconscious. On this point Peter Barry in Beginning theory when introducing Freuds ideas on the unconscious in the chapter on psychoanalytical criticism says:...the, unconscious, like a poem or novel, or play cannot speak directly and explicitly but does so through images, symbols and metaphors( Barry. 2002: 102). So images symbols and metaphors are the traces of the unconscious seeping through to the conscious mind. This is true for the individual. How does it work when we look at it in a collective sense? Here Darryl Sharp in the Jung Lexicon explains that the collective unconscious is another layer of the human psyche, shared collectively between all humans and it is here where Jung believes, inherited ideas and Archetypes resides (Sharp. 1991.) What he says, is that there is a whole host of ideas that he believes are inherent to all humans and that we all share. But what are these ideas and where do they express themselves. Giannetti notes that Carl Jung believes:

unconscious complexes consists of archetypal symbols that are as deeply rooted and as inexplicable as instincts. He called this submerged reservoir of symbols the collective unconscious, which he thought had a primordial foundation, traceable to primitive times. Many of these archetypal patterns are bipolar and embody the basic concepts of religion, art, and society: god-devil, active passive... (Giannetti 2005: 391).

This I can relate back to my introduction that the world functions on basic dualism, and that art and the religion express and explore these ideas metaphorically on a collective level. What Jung says here, is that they are universal patterns that express themselves collectively amongst all humans. These metaphors and symbols Jung explains In man and his symbols and says that a symbol is a picture or an image that has more meaning attached to it than just being assigned to an object to give it a denotative meaning. By this he means there are more layers of connotative meanings attached to this specific image. He uses the example of religious imagery, where animals in early Christian artworks dont just 17

refer in meaning to the animals, but they depict characters and virtues from a vision of Ezekiel about the Evangelists. These meanings can never be fully understood and takes us on a journey into the unconscious. They always have vagueness to what they truly mean, representing something bigger than themselves. We use symbols to explain the thing in our world that we cannot fully understand or comprehend .This is a symbolic meaning. Dreams he explains is where we create unconscious symbols that should be looked at symbolically and does not speak to us in a worldly rational sense but symbolically. (Jung 1968: 3,4,5). That means that symbols from the unconscious express themselves in dreams and archetypes, it also express themselves in dreams as archetypal images.

2.3. archetypes So then what is an archetype? If one starts to look at a further definition of what an archetype is Berger in Media analysis techniques notes:

An archetype is a universal theme found , according to Jung , in dreams, myths , religion, and works of art. Archetypes exist independent of personal unconscious of individuals. They are connected, Jung theorized, to past history and an alleged collective unconscious found in all people ( Berger 1993: 97).

The devil is a universal theme and is found in religion as well as in artworks through the ages .This has been pointed out in the introduction. So firstly, archetypes are part of the collective unconscious. Darryl Sharp in the Jung Lexicon notes that they are predetermined systems of ideas waiting to be activated .They are inherent in all of us and become activated when we encounter them consciously as metaphors in art. (Sharp 1991) Then to quote Sharp:

Archetypes are irrepresentable in themselves but their effects are discernible in archetypal images and motifs (Sharp1991).

This explains that archetypes can never be represented themselves and that we can only see them represented in artworks and themes in literature. So as from this one 18

can gather that the images of the devil must be looked at metaphorically to explore as to gain an insight into the collective unconscious and the fears and desires of that society.

2.4. the shadow archetype and projection Jung explained that there exist whole host of archetypes that are all present in the collective unconscious and so in all of us as well. The Tallahassee Center for Jungian Studies in a article The vampire archetype they align this archetype with the repressed unconscious and says it is a expression of societal taboos (Tallahassee Center for Jungian Studies S.a) So both the devil and the vampire archetypeal images or motifs acting as vessel for the shadow content that add the more refined, historic and situation information to the image.

Berger explains the shadow as follows :the shadow refers to the dark side of the human psyche, which we generally keep hidden from consciousness, although it is something we must eventually recognize and deal with (Berger. 1993, 99 ). But Sharp explains this further and says it consists of the animal like longings, anti social behaviour, childlike actions, morally negative ideas and selfish intentions. We recognize these characteristics in others because we unconsciously project them on to others (sharp 2006). This is what we do when we engage with images of the devil. We engage with a all ready projected image from the unconscious, infused with ideas from the shadow archetype. So it expresses itself visually in the vessel created by the artist or the projectee. Frieda Fordham a scholar of the Jugian school of psychology in her book Introduction to Jungs psychology explains the collective aspects of the shadow as follows:

The shadow is also something more than the personal unconscious -- it is personal in so far as our own weaknesses and failings are concerned, but since it is common to humanity it can also be said to be a collective phenomenon. The collective aspect of the shadow is expressed as a devil, a witch, or something similar(Fordham, F. 2007).

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So the collective image of the devil or vampire becomes a generic blueprint or that gets filled with the shadow content from collective aspects of a society. So becoming collectively constructed in art. But as to further explain this process of projection in relation to the Archetypes Brooderyk in a thesis The moving image: Contempory film analysis and analytical psychology states: Archetypes can be projected on to what the projectee unconsciously precieves as a fit container, thereby establishing a projectee container relationship...(Brooderyk 2006:79). Thus the devil character becomes a fit container for the artist and the viewer chooses to project the content from the shadow archetype onto it. Giannetti in understanding movies tenth edition agrees with this and says that that Carl Jung thought that an artist either consciously or unconsciously taps into a archetype as an unrefined blue print that he then takes and moulds into the general acceptable vessel at a given time to fit a specific culture (Giannetti 2005: 387,388). So a dream might become a vessel through which an artist can gain access to the unconscious and its symbols, then he takes and consciously reworks its content into a image that will symbolically embody that which has been dreamt. And so placing it in a relevant and understandable vessel for the people of his time.

So as a side note of how Freud explains the function he assigns to art. Looking at his ideas In understanding movies the tenth edition Louis Giannetti tells us that :

For Freud, art was a form of daydreaming and wish fulfilment, vicariously resolving urgent impulses and desires that cant be satisfied in reality. Pornographic films are perhaps the most obivious example of how anxieties can be assuaged in this surrogate manner and in fact, Freud believed the most neuroses were sexually based. He thought that art was a byproduct neurosis, although essentially a sociably beneficial one ( Giannetti 2005: 386).

So art is a beneficial space for the mind to safely get rid of and explore that which we cant satisfy in reality. And with the medium of film being so close to our own reality it facilitates this function much easier than any other medium. There exists a desire to explore and resolve the mostly untouched content of the unconscious and this can be 20

to explore sexual desires or to safely face your worst fears in the form of a devil character. Artworks and dreams featuring the character of the devil provides a character to blame for all these traits on a mental playground to explore and face our forbidden fantasies in. This character we can openly scorn and admire without ever identifying or admitting any of these desires to ourselves.

So to summarize the theory of my argument thus far. Art and dreams gives us metaphors and symbols from the unconscious and this link must no bet forgotten. As it is here that we become aware of some of the content of our unconscious concerns. The character of the devil as depicted in art becomes a vessel for the artist who borrows age old motifs from the collective unconscious, expressing the current unconscious concerns of a society and so aligning it with the shadow content allowing it a metaphorical and symbolic visual expression. Repeating certain motifs but molding them to fit into the specific time frame in history. The shadow becomes expressed collectively in the archetypal images of the devil and the vampire. I will now explore these concepts as I find them in chapter 3.

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CHAPTER 3: THE CHANGING FACE OF THE DEVIL: THE VAMPIRE AS THE ACHETYPAL DEVIL OF FILM 3.1. Introduction I will attempt to draw parallels between the character of the devil as he is depicted and the social conditions that gave rise to the current depiction in an attempt to identify the fears and desires of a certain society projected on to the character consciously and unconsciously as symbols from the unconscious. I do this to show that the vessel become loaded with content form the collective shadow that changes along with society. I will attempt to prove that the devil and the vampire figure is one in the same and just a different container or vessel for the collective projection of the unconscious shadow elements of a specific society at a specific time.

As an introduction I will now explore the particular image that represented each of the following ages: a) Middle ages with relation to the Divine Comedy (12001400), b) English revolution with relation to Paradise Lost (1600-1700), c) The Victorian age in Britain with relation to Bram Stokers Dracula (1830- 1901). Which I will then explore in the film Nosferatu: a symphony of horror. And then lastly look at the success of the vampire figure in the medium of film.

So as just to summarize what I have introduced so far starting point and basic understanding of the devil in Western culture I put forth that he is an evil deity with human attributes both physical and behavioural and he is sometimes depicted as having horns or other animal like qualities. He has more than one physical appearance and it changes as he needs. The devil also seems to be known by more than one name in different cultures and times and in history they are mentioned in many popular texts. Here he is the antagonist and trouble maker. So far the devil can be associated with the following themes; he is the mischief maker, the rebel, the outcast, the tempter and deceiver and powerful master of hell and torment. He sometimes seems laughable and helpless as well. He is the opposition of all that is righteous. But it is the relationship between all of these elements, the 22

archetype, and the society that then give you the reflection of the devil character that stands in for the scape-goat for a certain age.

3.2. the middle ages the devil and dante 3.2.1 Social and historic context: Medieval society. According to New advent a catholic organization in an article Middle Ages The Medieval period is said to have stretched from the 476- 1453 and started with the fall of the Roman Empire ( New advent 2009). This was a time ruled by the Christian church and its doctrine of hell and damnation. The society was based on a feudal system and this meant society was rooted in strict division classes in a set hierarchy. This meant the majority of the people were all servants to church, king and God. Jack Arnold explains in an article the Roman Catholic Church of the middle ages that the church was at the centre of medieval life in Western Europe and that its rules governed the lives of everyone. It was during this time that the church ruled by fear and some of the worst atrocities were committed in the name of the Christian church. This was during the medieval inquisition (1184-1230), when people were brutally tortured to get them to confess to being heretics and witches. (Arnold 1999). With God and the church placed on top of the hierarchy that showed such harsh punishments here on earth for sinners it is not difficult to understand why during this time the people would expect far greater torture and punishment in hell. And so the devil takes the form of the beast tormenting souls in hell. Even if he two is As mentioned earlier Kevin Wyman explains in The Devil We Already Know: Medieval Representations of a Powerless Satan in Modern American Cinema, that :.. beastlike representations were the most common in the Middle Ages... (Wyman 2004).

3.2.2. dantes inferno 3.2.2.a) summary of the devil and hell The Divine Comedy: inferno (1308) by Dante Alighieri Dantes most influential work was the Divine Comedy (1308) in which he explains how he was guided through the nine circles of hell, through purgatory and finally into heaven. Cantor, a historian and writer, explains in medieval history the life and 23

death of Civilization that Dante Alighieri is one of the prominent figures in medieval literature. What Dante did was to blur the distinction between theological truth and his personal and literary imagination. This was a time of two warring houses and Dante and the side he fought on was exiled from Florence. He writes and places his political and enemies in hell (Cantor 1969: 335). In Dantes Divine Comedy in the canto called inferno the devil is shown as a giant three headed man beast with six wings helplessly trapped in ice and devouring the shadows of Judas, and two other traitors in each one of his three mouths. Hell was based on a strict division for the various sins. With different punishments for each of the deadly sins. This punishment chosen that the sinner should become aware of this specific transgression ( Alighieri 1308).

3.2.2.b) analysis The division of hell can be seen in Figure 2 and even the sins become divided into strict sets of a hierarchy of punishments. Even though this hell is an awful place the character of Satan is still envisioned as a helpless savage fool who is trapped in ice and no match for the power of God that has placed him there. This is visible in Figure 3 and again in Figure 4.

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Figure 4: Dor, G. 1857. Santan trapped in ice

This can be related to the way the church in the Middle Ages celebrated the power of God as a all powerful conquering force of righteousness and truth. And so this meant a shadow was cast of the devil as a helpless fool. Carus in the History of the devil explains how Taine describes the devil of the middle ages as a pathetic beast with horns that is a mere clown and irritating trouble maker and a band leader to lost fools (Carus 353). These images captures the fear of torture presented by the devil and show the petty judgements of men stuck in a fixed class system. Their envy for those in a higher position than their own. The devil gets filled with the feeling of helplessness in a system with little or no room for changing your place in life.

3.3. the english revolution and miltons noble satan 3.3.1. social and historical context In an introduction to paradise lost John Leonard a Professor and expert on Milton and his time gives some insights to Milton and why Paradise Lost explores the theme of the fall of man in such a way. The political condition in England at the time was 25

unstable. It was a time of the English revolution from 1640-1660. The rule of a monarch who claimed to be God on earth through the mistreatment of his subjects sparked the English revolution and lead to his beheading. The fight was one that was lead by the middle classes and was one of the first signs that the feudal system was on its way to collapse. Milton, a stern supporter of the revolution, promoted its ideas by writing pamphlets. He was also granted a position in the government in the period before the Restoration of the king Charles the second in 1660. Milton who had become blind over the years escaped punishment for his treason because of this fact. He was deemed to be already punished by God (Leonard 2000: 10).

3.3.2. paradise lost 3.3.2.a) summary of paradise lost Written by john Milton and published in (1674) Paradise Lost is said to be one of the greatest religious epics in English literature.

In this story John Milton gives a very visual poetic depiction of the fall of man and how Satan was the instigator of it all. The tale starts with Satan bound as he and the rest of the fallen angels awake in the darkness of hell. They plan their new revenge on God. They choose one to go forth to explore and pervert Gods newly created world. In the end Satan is the only one willing. He ventures forth and meets his daughter sin (with whom he slept while they were still in heaven) and her child death. These two guard the gates of hell. He promises them freedom and they let him go on with his journey. He crosses through chaos until he reaches the newly created world and tricks the angel guarding its entrance by changing into an angel himself. Then Satan next reaches the walls of the Garden of Eden. He changes his physical form and enters the garden in the shape of a cormorant watching the guarding angels and Adam and Eve.

He learns that Adam and Eve are not to eat of the tree of knowledge. Satan then whispers at Eves ear while she sleeps and in a dream tells her of the knowledge

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to be gained if she eats from the one tree they may not. But he is discovered by the guarding angels and fled into the darkness of the woods.

God sends the angel Raphael to tell Adam and Eve of Satans presence in the Garden. He also reveals to them the story of the fall, the battle in heaven, and how Satan was defeated. Hoping this knowledge will stop them from tasting the fruit of the tree. But the very next day Satan in the form of a snake speaks to Eve and convinces her to eat of the tree of knowledge, for this is where he learnt to speak. Eve and Adam eats the fruit and Gods angels send them out of the Garden. Satan is thrown back into hell but a bridge has now been created from hell into the new world and death and sin can now freely cross.

3.3.2.b) analysis Satan is here shown as the deceiver and the rebel but above all a force that keeps on coming back despite of Gods plans to restrict him. He is shown with limited power but with the will to succeed no matter what.

Carus in the history of the devil explains that the devil as he is presented as one who has a noble soul follows his morals and strives for his own independent from a tyrannical God. These characteristics he says have not been assigned to any of the previous devil figures. The figure of the smited devil can be said to align with the revolution as the losing side felt put down by a tyrannical leader for what they believed to be right. On this point Carus further remarks: Milton personifies in Satan the spirit of the English Revolution; Miltonss Satan represents the honour and independence of the nation asserted in the face of a incapable government (Carus 1900: 353). In paradise lost the devil is described by Milton as follows : he above the rest In Shape and gesture proudly eminent stood like a tower (Milton 2000:74). This is just after the devil had been cast out of heaven and by no means describes a defeated figure. Another example of this is the devils famous speech in which he exclaims :Better to reign in hell than serve in heaven (Milton 2000:56). This shows again and supports Caruss idea that the devil accepting his fate and even in the 27

most horrid place hell he rather embraces his own rule and independence. All the negative feelings of defeat and fear of persecution. The secret feeling of being right and just even in defeat. It captures the defeated rebels stance and how the bitter feelings of defeat becomes projected on to the vessel of the devil character. This is seen in the more human strong and human depictions of the devil as shown in Figure 5.The devil is no longer a beast trapped in hell but a warrior fighting for a cause he believes to be just. In image Figure 6 he is the only one still standing up while his comrades lie defeated. He stands clad in armour ready to continue the fight.

Figure 5: Dor, G 1866. Illustration for paradise lost 1

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Figure 6: Dor, G 1866. Illustration for paradise lost 2

3.4 victorian conservatism and ideals in stokers dracula 3.4.1. historical context The Late Victorian era in England gave rise to the character of the vampire as new devil figure or vessel of the shadow elements of their society. Nilifer Pektas in an essay The Importance of Blood during the Victorian Era Blood as a Sexual Signifier in Bram Stokers Dracula notes:
Dracula was published in 1897, a period which was marked by the expansion of the British Empire. Science prospered and it was the century of Charles Darwin and a period of growing industrialization ( Pektas 2005).

Even though the expansion of the British Empire was at its peak there was a whole lot of conflict in the colonies and fear that the barbaric might creep back home from the uncivilized colonies and destroy the civilized way of life. The traditional belief in the church as the provider of all truths and just ways of the world was more under threat than before. The reason for this can be ascribed to the advances in science 29

and this made man believe more in his own knowledge, as again he looks to logic science and empirical studies to understand the world around him. Theories such as what Charles Darwin proposed with evolution made man even more aware of his primitive origins. This brought home the fact that the primitive beast might be closer to you than you think. Living in each mans heart and only civilized rational man can keep the beast contained. This contributed to a society structured as not to give in or fall back to its primitive beginnings. This sprouted into strict rules and expectations around the women and mens roles in society and the need to keep society intact as not to slip into a primitive way of life. Pektas in the same essay Importance of Blood during the Victorian Era Blood as a Sexual Signifier in Bram Stokers Dracula further explains on this point that these gender roles were firmly rooted within the system of patriarchy where women were only seen as mothers or virgins and any form of sexual desire was strictly forbidden and frowned upon by society and its regulations. Women who where promiscuous lost their pure status of what an ideal Victorian lady should be which was naive, passive, dependant and pure. The only function that sex was to serve to civilized man was to procreate (Pektas 2005). This is the age of the civilized conquering adventurer with his righteous views driving out and converting the uncivilized. Societal prohibitions enforced the heterosexual monogamous relationship within a marriage. What has been described here is a very strict society that shuns and prohibits any acts that go against its civilized views put forth by its white rational heterosexual male mind.

3.4.2 .bram storkers dracula a summary Dracula is a novel published in 1897 and written by Bram Stoker. It centres around the strange happenings which start when Count Dracula from Transylvania, lures an unsuspecting Harker to come and sell some properties in England to him. During his stay with the Count , Harker becomes plagued by restless nights and beautiful women who want to drink his blood. The count then leaves and mysteriously arrives in England. And his presence starts off fears of the outbreak of disease as strange markings on the necks of the dead. And even stranger behaviour is exhibited by the women with the same marks as they start to act out and become sexually 30

promiscuous and rise up after dying. And then doctor Vanhelsign realises that the cause is count Dracula. As the count drinks the blood of the innocent and turns them into monsters of the night. He goes on a vampire hunt killing one and destroying the resting places of others. This causes Dracula to flee back to his country where they ultimately find behead and stab him in the heart. Restoring society to the way it was. The impact and popularity is pointed out on eNotes in an article Dracula, Bram Stoker - Introduction :
Dracula is one of the most famous horror novels of all time. Published in 1897, the book garnered much critical and popular attention at the time of its publication and through the years has spawned countless stories and novels by other authors, as well as numerous theatrical and cinematic adaptations. In fact, Dracula has never gone out of print since its first publication. Many critics regard the novel as the best-known and most enduring Gothic vampire story ever published (eNotes 2006).

So these are the fears and desires of the Victorian era as seen in a historical context. Next I introduce the film Nosferatu: a symphony of horror and then relate how the vampire and its themes become a vessel where these express themselves.

3.4.3. the vampire in the film nosferatu: a symphony of horror 3.4.3. a) history of the film Even thought films had been made featuring the devil as pointed out in my introduction with the example of the Devils Manor from 1896, these films did not seem to capture the scape-goated shadow of society. And Wymann supports this standpoint as he believes that the image presented in most of these early films is still a reflection of the middle ages and its powerless Satan (Wymann 2006). But the character of the vampire, still fresh and relevant in the minds of the Victorian society, actually explored and captured a relevant issue from the collective shadow.

As a background one should take note that the names of the film along with the characters where changed On Reel reviews of the top all time100 hundred the it is 31

explained that the character names and places had to be changed because Florence Stoker did not want the film to be made or she wanted more money than Marnu could offer (Reel review 2000).

3.4.3. b) synopsis Nosferatu : a symphony of horror Running time: 1hr 38min Director: F.W. Marnu Characters: Count Orlock: Max Shreck Hutter: Gustav v. Wangenheim Ellen: Greta Schroeder

The film starts off with notes from a dairy reminiscing on the happening of a strange plague in London. Then it switches to a text with religious symbols of the Christian trinity of crosses expressing a warning not to speak the name Nosferatu or the fears in your heart will come and haunt your dreams. We are then introduced to our two main antagonists. Firstly Hutter a young man who is busy getting ready for work. While Ellen his love interest innocently plays with a kitten. He brings her flowers which upsets her. He is then off to work where his employer, Knock, a short dirty shifty looking fellow, tells him of a good money making opportunity This is to sell an old deserted house to count Orlock from Transylvania. Hutter must leave immediately to propose the deal to the count. Ellen does not want him to go as she fears for his safety. But he gets ready and leaves Ellen in the care of his friend Harding and his sister. He sets off on his journey.

At an Inn he is warned by locals not to go to count as it is dangerous they give him a book to read about the danger of vampires but he just laughs it off. He encounters wolves along the way. And at a bridge his coachmen wont take him any further as they fear for their own safety. He walks on and into the woods where a mysterious 32

coach and rider picks him up and takes him to count Orlocks Castle. The Castle doors open mysteriously and Hutter enters. He is greeted by the pale skinny figure of count Orlock. He gives Hutter some food but as the clock strikes he cuts his finger to which the count jumps up and tries to drink the blood. Hutter shrugs away and the count ask him to keep him company for the night as he sleeps during the day. Hutter wakes the next morning with bite marks on his neck. The next evening while discussing the contract of purchase with the count a small photo of Ellen falls out. The Count sees this and immediately agrees to buy the house. That evening Hutter is assaulted by Count Orlock while at the same time Ellen wakes from a nightmare and screams out to him. The next morning Hutter discovers the count sleeping in a coffin and tries to leave but realizes that he is a prisoner in the castle. That evening the Count packs his coffins and heads for London. Hutter sees this and escapes and starts to hurry home. Nosferatu gets onto a boat to reach this destination. Knock is now locked up in the mental asylum for eating bugs and other odd behavior. Nosferatu nears ever closer to London and with this Ellens behavior keeps on getting stranger. The news paper reports that the plague has arrived in the city and everyone should stay inside. The ship arrives at port and everyone onboard is dead. Hutter and Nosferatu arrive in London. Ellen becomes more and more plagued by fits of strange behavior she sleepwalks and constantly rubs her breast permisciously. The death toll of the plague keeps on rising and Ellen believes her fits and dreams have some connection with this. She offers herself to Nosferatu in order to stop him and his plague. It works and Nosferatu turns into a puff of smoke and ash. But Ellen dies as well.

3.4.4. The Vampire as the shadow of Victorian society The character of the vampire becomes the manifestation of the shadow aspects of the Victorian society. The count firstly comes from a foreign savage country on the outskirts of the British Empire. He is the ruler of this land and so stands in opposition of British domination and rule. So the count coming to England holds the fears of the people that a foreign way of live might come and threaten their own. The film starts with a dairy entry remembering a time when a plague of unknown origin infected the 33

young people of London. The plague arrives by boat and becomes a symbol of the unknown forces arriving from a foreign country. The plague becomes symbolic of a society that starts to fall into sin and transgress old belief. The physical sickness of the people becomes a metaphor for a society whose Western Christian traditions and morals have become neglected and pushed aside by rational thought and logic and a belief in empirical studies. And the vampire, the Nosferatu, in the end gets blamed for it all.

What is futher stressing about the count is that the Count cant be defined by the way of empirical study as he seems to be alive and dead at the same time. He can shape shift and posses super human strength and exercises mind control over his victims. Then he further grips the Victorian imagination with his erotic deeds and biting and sucking the blood from the necks of his helpless victims. Pektas in states The perversions in the novel are not directly expressed but it is expressed through blood where blood sucking indicates sexual intercourse and these perversions are brilliantly camouflaged(Pektas 2005). So sex becomes represented by the intimate swapping of bodily fluids. And the way he frequents his male and female victims breaking the rules of how sex is supposed to work inside of the union of marriage, and only to consummate children for the good of society. There is a strange homo erotic tension between the Count and Hutter as the count constantly stares at him. Another indication of this is when Hutter accidently cuts his finger and the count lunges forward and tries to drink the blood. He even goes further and asks Hutter to keep him company for the night which seems innocent enough but Hutter wakes to find strange markings on his neck and later admits to having strange dreams. He comes and upsets the morals and values of society. The characters Hutter,Ellen and the others living in London become a representation of the Victorian society. So the fears and desires are the same for the audience at the time and the human characters in the film. The human characters are mostly only active in the day. And in the beginning of the film we are shown a tranquil Victorian setting of a happily married couple. Both of them are in their traditional roles, Hutter as the man of the house and patriarch and Ellen as the soft naive homemaker. And it 34

is only when Hutter heads off to Transylvania the land of thieves and phantoms (Nosferatu: a symphony of horror 1922). and pursues his dream for more riches; his own greed allowing evil into their lives. Leaving his wife behind to her own irrational mind. The Vampire is visually treated as a shadow when he proceeds with his evil deeds and these visuals become metaphors for the unconscious desires of the pure and innocent human characters. Firstly his physical appearance, if we look at Figure 7 a pale skinny bold old man with long finger nails and pointed ears. His appearance reminds us of earlier beastlike representations of the devil. This troubles the Victorian mind who believes man has evolved out of its previous primitive animal qualities. His un-groomed appearance would also offend them.

Figure 7: The figure of Count Orlock. 1922 Nosferatu: a symphony of horror. (screenshot). The character of the vampire is treated in such a way in the film that one can in a literal fashion draw parallels between him and the unconscious content of the Victorian mind. The Vampire in the film is a physical representation of the fears and desires of the human characters in the film. As explained earlier the mind is split into 35

the conscious and the unconscious. That which we can perceive and understand falls into the conscious part and that which is hidden from us is the unconscious. There is fear and unknown in the darkness and this is the space that the vampire in Nosferatu :a symphony of horror inhabits. The count only comes out at night, this is when we sleep and dream and literally see our desires and nightmares come true. So the fact that the vampire in the film is only visible in the night aligns it with the unconscious content of our minds. Everything that is negative or unexplained happens in the night. Orlock is most active when the human characters sleep and affect the most power over them while they sleep. The characters actions during the night for example, Ellens sleep walking is also attributed to a state associated with dreaming. And we later see the count controlling her movements from a distance. And there are even instances when for a moment we can even believe that the Count might just have been a dream that Ellen or Hutter has had. Then in the day he is concealed and hidden form the light. And it is only when Hutter discovers the count asleep in his coffin in the day that he realizes what the count is. And while in a dream one can put a monster to rest as a nightmare. Encountering him while awake makes him a reality. In Figures 8 and 9 we see the literal shadow of the vampire as he proceeds up to Ellens bedroom but we do not see his physical character of the vampire.

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Figure 8: The shadow of Count Orlock . 1922.Nosferatu: a symphony of horror. (screenshot).

Figure 9: The shadow of the count gripping her breast. 1922.Nosferatu: a symphony of horror (screenshot). 37

Then this shadows hand grabs the pure and innocent heart or breast of Ellen. But the fact that at this point we never see the character of the vampire can be interpreted that this ugly threatening shadow is her own. It is her own lustful denied desires creeping up on her. And the vampire only appears after the act is completed leaving a lot open for the mind to fill as to what happened. And further that he is now only shown after the act because there is a need for something to blame for what happened. This again shows the relationship as the cause for these desires to be an external force that is denied in one self. The whole film becomes an explored theme of how a society projects its negative characteristic on to a vessel, like in the case of the film the vampire, and that it must be destroyed or it will destroy society. This echoes the themes of falling into sin and being cast out by a greater power as in the images explored in the previous ages. As we can see the character of the vampire struck down by the light and turning into ashes as if punished for his sins by a greater power. There is a need in us to know what causes desires and undesired social behavior. We cant accept this within ourselves and so we grab onto a character such as the vampire as an outlet. And even if you believe it only to be a fictional affair it still explores themes relevant to any society. The vampire is a powerful figure that lives by his own rules breaking every taboo put up by Victorian society. From his selfish polygamous bi-sexual tendencies, to infecting his victims and turning them into the same beast as he, to plague society and suck it dry of every last bit of Victorian morality. This is how the vampire and his images and motifs can be aligned as the vessel carrying the collective social blame of the Victorian society aligning it with the figure of the devil in the previous ages.

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3.5 how has this image progressed Today Dracula has appeared according to the internet movie database in an article Characters: Count Dracula in 217 films making him the fifth most portrayed character of all time. (Characters: Count Dracula 2009). The online Guiness world records notes him as the character most portrayed in horror film. (Guiness world records 2009).

3.5.1. twilight 3.5.1.a ) synopsis Twilight Running time: 117 minutes Director: Catherine Hardwick Characters: Bella Swan: Kirsten Stewart Edward Cullen: Robert Pattinson

Bella swan a teenage girl moves in with her Father in the small town of Forks. Everything seems normal until she meets a handsome young boy called Edward who goes to school with her. They exchange longing and lustful glances. He saves her from a being smashed by car. She then discovers that hehas super powers and is a ninety year old vampire who is looking for his perfect soul mate. His whole family are vampires as well. They look after and protect each other. They do not drink human blood. Dont sleep and all have normal human lives. Edward has another special power in that he can read minds. Bella secretly wants to be a vampire so that she and Edward can be together forever. Everything seems well until a band of rouge vampires arrive and want to eat Bella. One of the rouge vampires James lures Bella to a church. We see that the vampires all have reflections. He bites her. Edward and his family arrives save her. They rip James apart and burning him in a fire. Edward sucks the poison from Bella stopping her from turning into a vampire.

3.5.1.b ) a brief comparison of Edward and count orlock 39

With the recent and ongoing popularity of the Twilight series of books by Stephanie Meyers the vampire is being repackaged yet again as teenage lust and desires. It boasts with an attractive and youthful cast and relates it to our current youth and sex obsessed culture. If you compare the image of count Orlock in ( Figure 8) to that of the lead vampire Edward (Figure 10) in Twilight it is easy to see how far the image of the vampire has progressed and changed face. As he has gone from a stealthy lone beast preying on his victims at will to a heroic attractive young man that can walk in the day and constantly battles to keep his desires to feed intact.

Figure 10: Edward Cullen the vampire from Twilight. 2008. Twilight. (screenshot). His character and story has been completely romanticized and the classic battle of good versus evil has now turned into a classic Romeo and Juliette love story. No longer does he hide in the shadows he now hides in plain sight. The story of the vampire has moved from a fight of good against evil to a love story. And this love story relates to the desires and of teenage fantasies of the perfect partner and being together forever. The vampire has become a likeable figure who has a family and this seems to tie in with the American dream of having a wife children and all living happily ever after. The image of the vampire no longer frightens us and the threat is 40

known. Bella willingly wants to be around Edward even though she knows that he has this primal need to rip her apart. Compared to Ellen in Nosferatu: a symphony of horror, who tries to fight the count attentions. Bella is willing to give herself up at any moment. The roles seem to be reversed as Bella is more aggressive than Edward. The only time Edward drinks Bellas blood is to save her from changing in to a vampire herself. He does this by sucking out the poison. If we can align it blood with sex again. Then the fear or reluctance to have sex can be understood in our current world situation with the AIDS epidemic. And because of this every institution tells everyone to refrain from having sex. This leaves might leave one us with a unconscious fear of infection. The vampire is still the shadow of our society. But these fears are portrayed differently. We now sit with a society in love with its own image and this is vanity. Our current shadow is Edward because he is everything we are not he is almost non human he restrains himself from having sex and hedonistic pursuits when it is freely offered to him. He has super powers and protects his family. compared The Twilight vampire might have lost its primal shock value compard to the earlier depictions of the vampire and most definitely if you compare him to the beastlike representations seen in (Figure 1) but he still embodies the fears and desires of his day.

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CAPTER 4: CONCLUSION In this study I looked at how depictions of the devil have come along with man through the ages and how these depictions have changed as it was needed as an outlet for the unconscious fears and desires. I have showed examples of art and literature showing different depictions of the devil at different historical periods in the Western world. Further I have introduced and aligned Carl Jungs concept of the projection of the collective shadow on to the figure of the devil in art and literature. Then I noted similarities between the devil and the vampire figure and positioned him as the archetypal devil of the late nineteenth and earl twentieth centurys with reference to Bram Stokers Dracula novel and F.W. Marnaus 1922 film Nosferatu: a symphony of horror. I then skipped forward and looked at a current representation of the vampire. Here I found a romanticized version of the vampire. This shows the same pattern that can be seen with the move from the beast like representation of the medieval devil that Dante put forth. To the noble romanticized image of Satan that Milton describes. I showed exactly the same is happening to the vampire as the ugly beastlike count Orlock has now progressed to attractive youthful Edward from the Twilight movie.

I explored works of literature and art that linked up with the time periods I explored. I chose the examples as they are the most popular and was mentioned most during my initial research about the devil and vampires. I conclude that that the depiction of the devil character in visual art as well as the descriptions of him in various literature captures the collective fears and desires of a specific society at a specific time. This pattern repeats itself. First with the depiction of the devil in the past. And again today with the depictions of the vampire. The character of the devil and his motifs becomes the perfect vessel to apply the shadow content of a society as the devil is the unknown, the unconscious, and all of this can also be aligned and said of the vampire.

As for the shortcomings of this dissertation I would have liked to explore a wider range of images and to have constructed a more visual time line to prove my point. . 42

For the future the content of this dissertation could perhaps be expanded further to explore the character of the vampire in film. As I have barely touched four of the 217 films in which the character appears. In the future of the medium of film I see the vampire to move even further away from its roots. It will become even more romanticized as is all ready done in the Twilight movie. And as there are two sequels to the film the old image of the vampire will sadly become just a distant memory.

So the devil in each age is visible in a collective figure for the exploration of that which frightens us most about ourselves. The most popular devil of our age lives in the most popular medium of film. It is the vampire who is still going strong as the figure of blame, admiration and despise in our age. But this image is starting to lose its power as it has just as with the devil figures before him become romanticized. The images of the devil are merely a metaphors for our unconscious fears and desires and the medium of film gives us the most engaging medium to date to face this part of ourselves. In the 2000 film the shadow of the vampire a a fictional making of of F.W. Marnaus Nosferatu: a sympthony of horror. William Dafoe is the actor Max Shreck playing the character count Orlock and literally places his hand in front of a film projector casting a shadow on the projected image against the wall. This becomes a beautiful reference to the great impact the character of the vampire and F.W. Marnaus film has had on cinema. And how the medium of film has become the home of the collective unconscious where our darkest desires can be explored.

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