Dracula on Film, 1931 - 1959

In her incisive analysis of Dracula (1897, Bram Stoker), Jennifer Wicke argues that the novel 'incessantly displays' and is 'obsessed' with 'technological and cultural modalities' of the period - the telegraph, the phonic records, the Kodak camera, the mass media. So what happens when the entire story becomes enfolded within a technological form? This chapter explores Dracula (1931, Tod Browning, USA), Son of Dracula (1943, Robert Siodmak, USA) and Dracula (1958, Terence Fisher, UK) in order to examine how the silver screen represents the vampire Count and how his character changes with each cinematic resurrection. How is visual storytelling employed to tell a story that has already been explore as a novel, at least two European silent films, and three stage plays?