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. The full moon is connotative of horror, mythical creatures, and the supernatural, which suggests the subgenre of horror

Binary opposition between the blonde hair of the victim and the dark hair of the antagonist constructs a symbolic binary between good and evil and light and dark. This assumption is potentially racist, or at least highly postcolonial attitudes Juxtaposed against this is a socially accepatble female ideal, constructed through the disempowering dumb blonde stereotype who willingly and passively submits to her male counterpart. The left hand positioning and the high key lighting combine to present this more submissive character as the privileged and ideologically acceptable role model from the female binary offered. The capitalized serif font connotes the vampire film genre with its 'wooden' styling linking to a stake needed to kill a vampire. Also looks like a fang. Older’ stereotypes of women as passive victims of men and more modern ‘male fears’ of women challenging male dominance could both be seen to be encoded in this film poster. MES of male victim features a prone man with an unbuttoned shirt, which is an an example of sexualisation . Van Zoonen would argue that this sexualisation of men is highly atypical and challenges stereotypical assumptions of the patriarchyx 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry. Frequent use of the colour red, which functions as a symbolic code for blood, death, and, polysemic, love, romance, and sex 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. Dr Ravna (Noel Willman) works his magic on Marianne (Jennifer Daniel) and Gerald (Edward de Souza) in The Kiss of the Vampire (Hammer 1964)

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. The gesture code of the woman on the left is that of the stereotypical passive victim of the ‘monster’, his power highlighted by the fact that he’s holding her by just one arm. The costume of the woman is fairly formal and stagey, which plays on the theatrical element of the film. The film looks old fashioned, even in the 1960s, and resembles a stage play, A conservative ideology, and a conservative outlook on female sexuality Anchorage of the letter V in the KOTV logo, reinforces a clear generic convention of the vampire genre What intrigued me about them was after about 20 minutes I was totally hooked despite a totally absurd situation," he said later. "I thought it was wonderful - here was a genre with its own ground rules and self contained world and you could be theatrical but treat it realistically to grab the audience and make them believe something absurd." [2]In North America, the film was released on 6 September 2005 along with seven other Hammer horror films ( The Brides of Dracula, Nightmare, The Evil of Frankenstein, The Curse of the Werewolf, Paranoiac, Night Creatures, The Phantom of the Opera) on the four- DVD set The Hammer Horror Series (ASIN: B0009X770O), which is part of MCA-Universal's Franchise Collection. This set was re-released on Blu-ray on 13 September 2016. In July 2020, Scream Factory released the film with a collector's edition Blu-ray that included both 1.85:1 and 1.66:1 aspect ratios as well as the TV version Kiss of Evil in standard definition. [10] Bibliography [ edit ] 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.

James Bernard supplies a big, booming musical score bringing impact to the visuals and handsome sets, in much the same manner as he had a few years before with Horror of Dracula. The climax, originally intended for that of Brides of Dracula, has special effects that seem barely adequate by today's standards but still remain fun to view even if you can't take them too seriously. 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. Painted poster is highly conventional of the time it was made, and allows the whole cast to stand next to each other, and hides the films mid budgetThompson, Howard (10 October 1963). "Screen: Knights and the Supernatural". The New York Times: 49.