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Carmilla, the title character, is the original prototype for a legion of female (and often lesbian) vampires. Though Le Fanu portrayes his vampire's sexuality with the circumspection that one would expect for his time, there can be little doubt that lesbian attraction is the main dynamic between Carmilla and the narrator of the story. Carmilla selected exclusively female victims, though only became emotionally involved with a few. Carmilla had nocturnal habits, but was not confined to the darkness. She had unearthly beauty and fantastic strength; she was able to change her form and to pass through solid walls. Her animal alter ego was a monstrous black cat, not a bat as in Dracula. She did, however, sleep in a coffin. |
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Carmilla, the title character, is the original prototype for a legion of female (and often lesbian) vampires. Though Le Fanu portrayes his vampire's sexuality with the circumspection that one would expect for his time, there can be little doubt that lesbian attraction is the main dynamic between Carmilla and the narrator of the story. Carmilla selected exclusively female victims, though only became emotionally involved with a few. Carmilla had nocturnal habits, but was not confined to the darkness. She had unearthly beauty and fantastic strength; she was able to change her form and to pass through solid walls. Her animal alter ego was a monstrous black cat, not a bat as in Dracula. She did, however, sleep in a coffin. |
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Carmilla has been the subject of a number of films. A film [Et mourir de plaisir]? (Literally "And to die of pleasure...", but actually shown in England as "Blood and Roses") was made of Carmilla by French director [Roger Vadim]?, with cinematography by [Claude Renoir]?; it is perhaps one of the greatest of the vampire genre movies, and, predictably enough in a film by Vadim, thoroughly explores the lesbian implications behind Carmilla's selection of victims. |
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Carmilla has been the subject of a number of films. A film [Et mourir de plaisir]? (Literally "And to die of pleasure...", but actually shown in England as "Blood and Roses") was made of Carmilla by French director [Roger Vadim]?, with cinematography by [Claude Renoir]?; it is perhaps one of the greatest of the vampire genre movies, and, predictably enough in a film by Vadim, thoroughly explores the lesbian implications behind Carmilla's selection of victims. |
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Though Carmilla was a seminal work for the genre of vampire fiction, there is also a modern tale that directly incorporates Le Fanu's character. Carmilla: The Return, by Kyle Marffin (ISBN 1891946021 (amazon.com, search)), begins in 19th-century Austria but follows Carmilla's life into 1990s Michigan. |
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Though Carmilla was a seminal work for the genre of vampire fiction, there is also a modern tale that directly incorporates Le Fanu's character. Carmilla: The Return, written in 1999 by Kyle Marffin, begins in 19th-century Austria but follows Carmilla's life into 1990s Michigan. |
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A e-text? of Carmilla is available at http://www.sff.net/people/DoyleMacdonald/lit.htp . |
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* A e-text? of Carmilla: http://www.sff.net/people/DoyleMacdonald/lit.htp * Carmilla: The Return by Kyle Marffin: ISBN 1891946021 (amazon.com, search) |
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