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Stoker, Coppola and the ‘new vampire’ film
Lindsey Scott

tune with its scriptwriter James Hart’s romantic backstory and a society’s accumulating fears over AIDS than with Stoker’s novel. 24 Viewed through the kaleidoscope of intertextual reference and allusion, the film borrows from Jean Cocteau’s La Belle et la Bête (1946) as much as it borrows from Stoker, with the earnest and beautiful Mina Murray (Winona Ryder) falling in love with

in Open Graves, Open Minds
The metafictional meanings of lycanthropic transformations in Doctor Who
Ivan Phillips

The Tharils are distinctly leonine rather than lupine and they are a discrete race of alien beings, not transformed humans, but – with a design based closely on that of the Beast from Jean Cocteau's film La Belle et la Bête ( 1946 ) – they have a lineage that connects them to myths of the accursed bestial hybrid. The Cheetah People, appearing in the final story of the classic series, are humans who have been mutated into a kind of savage nobility by the primal influence of an unnamed but dying planet. As their name suggests, they are human–cat rather than human

in In the company of wolves
Abstract only
David Annwn Jones

Belle et la Béte (1946). The blue flames seen from Dracula’s coach are an effect borrowed from F. W. Murnau’s Faust (1926). A roundel in a peacock’s feather morphs into a railway tunnel, a train steams over the pages of a diary, the writing is projected over Harker’s face and Dracula’s eyes appear in the sky á la Herk Harvey’s Carnival of Souls (1962). It is in

in Gothic effigy