The transvaluation of the Vampire

The Transvaluation of the Vampire

In this essay we shall examine two films: “Nosferatu” and “Twilight”. The first film was made in 1923 by the German director F.W. Murneau, the second film was made from a book with the same title by author Stephanie Meyer. F.W. Murneau and Stephanie Meyer were the two creative forces of the two films. Mernau and Meyer are separated by time, place, and attitudes. Murneau was a gay man living and luxuriating in the decadence of the Weimar Republic; Meyers considers herself a straight laced mormon.

To examine the two films we shall use a process developed by Oswald Spengler: psuedomorphosis. Psuedomorphosis is a process in mineralogy and geology. Spengler explains “In a rock stratum are embedded crystals of a mineral. Clefts and cracks occur, water filters in and the crystals are gradually washed out, so that in due course only their hollow mold remains. Then come volcanic outbursts which explode the mountain; molten masses pour in, stiffen and crystallize out in their own special forms. They must fill up the spaces that they find available. Thus there arise distorted forms, crystals whose inner structure contradicts their external shape, stones of one kind presenting the appearance of stones of another kind. The mineralogists call this “Psuedomorphosis”.

Sopengler wed the process of psuedomorphosis to explain historical developments of cultures. I am going to develop the process and concept of psuedomorphosis to explain language and myth. Needless to say Spengler nor anyone else should be blamed for anything I write.

We know words are triggers that stimulate a feeling and or an emotion in us. Some word triggers have an objective form. Let us take a simple example- a motor car. We can all define a motor car the same way, but may have different emotions about motor cars in general and particular. Another example would be how a liberal and conservative have different emotional responses to the terms “wealth redistribution.” The liberal feels good or satisfied about the process of wealth redistribution; while a conservative feels a sense of horror and injustice at the same process. Yet, both define the process the same. So it is with psuedomorphosis the same cavity or space is filled with different minerals. Here minerals would symbolize emotions. Even though a word may have an objective definition, it may have a different emotional content to different people, or the same people at different times and places. This probably explains how words change their meaning over time; that as one emotional content dissolves is is replaced by a different emotional content. Now to the movies.

“Nosferatu” and “Twilight” are both films about a vampire and his “victim” or person of interest. In both films the person the vampire is interested in are attractive young women. This should already give us a clue that vampire mythology is about sexuality. An objective definition of “vampire” would be a blood-drinking humanoid, but this does nothing to explain the emotional content that animates the vampire. The vampire is a symbol of sexuality: a forbidden sexuality. This should become clear as we examine the two films. In the movie the two characters that we are examining are Count Orlock and Ellen Hutter. Hereafter referred to as Orlock and Ellen. In Twilight the two characters of interest are Edward Cullen and Isabella Swan. Hereafter referred to as Edward and Bella. We shall examine the two female characters first: Ellen and Bella. Both are about the same age. Bella is sixteen and Ellen cannot be more than a few years older. Bella lives with her father, who is absent due to to work most of the time. Ellen is a new bride, whose husband is absent due to business. Both are sexually inexperienced. This is symbolized by Bella being clumsy and Ellen having fainting spells. Both seem Victorian heroines; except they both have an underlying sexual aggressiveness. Both also have disturbing dreams about vampires. This should also be seen as a symbol for sexual awakening. There does not seem much to differentiate Ellen from Bella. So let us turn to the vampires.

At first sight the vampires seem very different, but are they? Both of course are humanoids who drink blood. Both have a striking appearance. In the book “Twilight” the reader is reminded over and over again how beautiful Edward appears. Orlock on the other hand appears as loathsome. It is Orlock's two front teeth that are elongated, not the eye-teeth. This gives Orlock a rat-like appearance. This rat-like appearance is enhanced and confirmed by often showing Orlock with feral rats. What they both have in common is a striking appearance. Both Edward and Orlock are totally fascinated by the woman that interests them. Edward compares Bella to “Heroin” and himself as a “junkie.” Orlock is shown staring out the window at Ellen. This fascination starts at first sight. Orlock sees a picture of Ellen and cannot stop staring in fascination. Edward acts strangely when he first sees Bella. Needless to say both are dangerous figures. In symbolic language they represent the danger of female sexuality and society's attitude towards female sexuality. The term “Nosferatu” has no settled etymology. In one of its etymologies it means “disease carrier”. Which of course is the symbol for the fear of venereal disease. In our age venereal disease has recede, so Edward has no such associations. The way that both reflect the attitudes towards female sexuality can also be observed in their reactions to sunlight. Orlock is the first vampire in history to be destroyed by sunlight. Edward is the first vampire in history to shimmer and glow in the sunlight. In Victorian times female sexuality was not a subject that anyone dared cast light on.

In the present age it is acceptable subject, and add to that; that Meyer wrote “Twilight” for an audience of teenage girls. Thus there should be no surprise that Edward shimmers and glows in the sunlight. At the end of the film “Nosferatu” Ellen gives herself freely to Count Orlock. She keeps him busy all night, and the sun destroys Orlock. Then Ellen herself dies of blood loss. Thus Ellen and Orlock die together as star-crossed lovers have done since “Romeo and Juliet.” At the end of “Twilight” Bella has decided she too wants to be a vampire, so she can live with Edward forever.

What we have observed in the two films is a historical psuedomorphosis. The symbol of the vampire has undergone a change of emotional content. From the Victorian rejection and denial of female sexuality; to the present ages acceptance and celebration of female sexuality.