Hello Tron... Text Me Into The Future!

Hello Tron...Text Me Into The Future

 “Now we're e-mailing and tweeting and texting so much, a phone call comes as a fresh surprise. I get text messages on my cell phone all day long, and it warbles to alert me that someone has sent me a message on Facebook or a reply or direct message on Twitter, but it rarely ever rings.” (Susan Orwell)

Walk into Starbucks and stand in line.  As you stand there waiting for your Latte, you happen to glance up from your iPhone and casually look around you.  Though nothing is out of place you take note that the 13 people scattered throughout the café, sitting or standing while drinking and waiting to order are all jacked in.  They might be on their smartphones, tablets or laptops, but almost no one is simply reading a book or newspaper, nor do you see people socializing by verbally chatting with each other; instead you hear the furiously erratic sounds of fingers going tap… tap… tap… as messages are sent via text, emails are replied to, and phone calls are answered via blue tooth devices.  This is our present and our future.  As we look to the future we realize this is the science fiction future writers only imagined in novels and movies of the early 20^th century.  It is through this looking glass humanity needs to learn its lessons and not lose its’ humanity, while continuing to evolve with ever changing technology helping to provide mankind with an appetite for a more advanced, intellectual society.

“Anything that you can become obsessed with, and you do so much that you doesn’t do the things you need to do with family, friends, school, job - that can be an addiction. And texting absolutely can qualify.” (Dale Archer)

In July of 1982 the motion picture industry released the Disney movie, Tron to the public, never realizing what seemed to be a dystopian science fiction film, truly was predicting a future 30 years from its production.  The basis of the film introduced the audience to the concept of hackers, while bringing the internet and World Wide Web into a more mainstream atmosphere.  Here the audience watched as Kevin Flynn took on the Master Control Program, aka MCP and interacted with other entities within the virtual reality world in order to survive. 

Kevin Flynn: Look, just so I can tell my friends what this dream is about, okay? Where am I?
Ram: You're a... guest of the Master Control Program.
Kevin Flynn: Oh, great.
Ram: They're going to make you play video games.
Kevin Flynn: No sweat. I play video games better than anybody.

Not only was Disney’s Tron a cutting edge masterpiece due to its computer animated features throughout the film, but the topics discussed, such as the character being “sucked” inside the mainframe of a computer system to become a part of the internet and have to “fight” on a more gladiator style for his life, is similar to how people in today’s society react and communicate via applications provided by the various technology services through one’s smart phone providers.  Many “users” face similar challenges in today’s society with apps and virtual worlds such as Linden Labs’ Second Life, World of Warcraft, Final Fantasy, Farmville and Angry Birds.  Not to mention all the various social media apps that include YouTube, Facebook, Snapchat and Gizmo of which people consistently post throughout the day  with pictures and conversations taking over their daily lives. 

Ed Dillinger: Encom isn't the business you started in your garage anymore. We're billing accounts in thirty different countries; new defense systems; we have one of the most sophisticated pieces of equipment in existence.
Dr. Walter Gibbs: Oh, I know all that. Sometimes I wish I were back in my garage.
Ed Dillinger: That can be arranged, Walter.
Dr. Walter Gibbs: That was uncalled for! You know, you can remove men like Alan and me from the system, but we helped create it! And our spirit remains in every program we design for this computer!
Ed Dillinger: Walter, it's getting late. I've got better things to do than to have religious discussions with you. Don't worry about ENCOM anymore; it's out of your hands now.
(Disney’s Tron, 1982)

If people are reaching out and socializing with one another via smartphones, is this not a good thing?  Not necessarily.  While an article published by Alex Hern in August of 2015’s edition of The Guardian Stated “Two thirds of adults now have a smartphone, up from 39% in 2012, and the amount of time we spend using them to go online has risen to one hour and 54 minutes per day.”(The Guardian, August 2016) Hern interviewed Jane Rumble, director of Ofcom about the “landmark shift” in smartphone usage and how it was affecting not only adults but the younger generations.  Rumble correlated that the “younger age groups were driving the change.  Those aged 16 to 24 are much more likely, as well as 25 to 34, to say their smartphone is the most important device to get online, whereas for older age groups, they are much more likely to be sticking with their laptops.” (The Guardian, August 2016)

          Rumble continues to validate her documentation with correlation between the technology of smartphones and the various age groups by explaining that the older generations, which includes 55 to 64 as rising genre of adults owning smartphones.  Unfortunately what this article does not discuss is the downside of the rising percentages of adults in all age groups socializing via smartphones, and the possible isolation and social anxiety that comes with the over usage and dependency on these devices.

          David Zaro, a student of psychology, recently posted on his blog, Applied Social Psychology, about the effects of using a smartphone and how doing so can amplify social anxiety.  He explained at the beginning of his article, Social Media May Cause Social Anxiety, the following: “According to the Social Anxiety Institute, social anxiety is the fear of social situations and the interaction with other people that can automatically bring on feelings of self-consciousness, judgment, evaluation, and inferiority (Richards, 2012). Typical signs of social anxiety are feeling tense or uptight when interacting with acquaintances, blushing during conversations with strangers, feeling dread or terror about having to speak to others and avoiding social gatherings.  (Schneider,Gruman,Coutts, 2012, p88)” 

          Zaro would then further his explanation by going more in-depth with his own experience: “Every day I notice simple tasks of calling someone on the phone, asking for directions, or just staying in touch with friends is being silenced by the use of texting, Google maps and Facebook. This lack of human communication and social interaction is diminishing common social skills that used to be found in daily human interaction.”  

          It is due to Zaro’s unique perspective and personal experience within his community, we are able to justify the dangers and ideas of isolation due to usage of smartphones.  Zaro goes into depth about this personal experience when he talks about what it was like to “replace” social outings with friends with smartphone gatherings on social media apps.  “ Just through my own personal observations I have witnessed email replacing phone calls, texting replacing emails and social media starting to replace the "get together" with friends and family members. Instead of going out for a few drinks with co-workers, we have fallen victim to meeting up on social gaming sites like Farmville to swap some chickens instead of verbal communication.” (David Zaro, 2012)

          While Zaro speaks to us of what he experienced, remember Anxiety, even Social Anxiety is a real issue.  Many people will excuse this idea saying they just don’t feel like going out today, and automatically reach for their phone, tablet or laptop.  I will admit I am and have been guilty of this myself.  Don’t look for an app to solve this for you.  Talk to someone.  Therapy, especially group therapy is a positive way to help one not only relearn how to overcome social anxiety, but to once more learn how to feel comfortable in the physical presence of others. 

          Unfortunately, Social Anxiety is not the only danger we as a wide-scale community face with the ever growing use of smartphones.  One of the largest impacts and dangers with smartphones is the concept of “Texting While Driving,” or as it has been described “Distracted While Driving.”  Many NYS citizens do not realize that New York was the first state to adopt DUI laws back in 1910.  This history is vital to NY as the safety of the people who live within this state is dependent upon safe driving.  Now we have a new threat that is growing amongst us, with young and older drivers, with the cell phones distracting drivers from focusing their attention on the traffic in front of them.  It has become popular to “snap a selfie” or record yourself “singing karaoke” in order to post on social media sites such as Facebook and YouTube.com; but what happens when one is snapping that picture, or responding to a text message only to miss that the car / truck in front of them has stopped quickly, thereby hit their brakes, causing the person who is now distracted to slam into the stopped car? 

          “Everybody is continuously connected to everybody else on Twitter, on Facebook, on Instagram, on Reddit, e-mailing, texting, faster and faster, with the flood of information jeopardizing meaning. Everybody's talking at once in a hypnotic, hyper din: the cocktail party from hell.” (Maureen Dowd)

          According to the article posted on handsfreeinfo.com New York: Cell Phones, Texting, “Ticketing for cell phone use by New York drivers continues to decrease, but texting & driving citations are hitting a peak. Texting tickets “have dramatically increased each year since 2011,” according to the governor’s office. In 2015, there were a combined 216,748 distracted driving tickets handed out, down from 242,000 the year before.”  (Updated May, 2016)

          The website further details the current Distracted Driving Laws and the Fines associated with them for New York State:

Current distracted driving laws

·         Drivers must use hands-free devices while talking on cell phones.

·         Text messaging and related uses of handheld electronic devices banned.

·         Taxi cab drivers in New York City banned from using cell phones.

·         Television screens not allowed within view of drivers.

New York State distracted driving fines:

·         First offense: $50 to $200.

·         Second offense (within 18 months): $50 to $250.

·         Third offense (within 18 months): $50 to $450.

·         Five demerit points for all violations (effective 2015)

“If you've been driving for a little while and nothing's happened to you yet - and you've been texting and driving - you think, 'Oh nothing's going to happen.' But all it takes is an accident happening with one of your friends or God forbid, something happening to you, to really give you a wake-up call.” (Victoria Justice)

In the end we need to be more aware and conscious of the world around us.  It is wise to remember technology is a tool, one that is of great use to our future and our children’s future.  It will help us evolve, but like anything it can become an addiction.  One that is harmful and destructive to society as a whole.  The choice is ours on how we use these tools.  Put your cell phone down, turn it off for an hour or two and go outside.  Look around you and remember what it felt like to simply enjoy playing in the leaves of autumn.  Feel the rain as it splashes down on your face.  Fall backwards into the snow and make snow angels or get into a snowball fight for fun.  Better yet, I dare you to walk up to someone in Starbucks and say “Hello, my name is…” You can do this.  So many of us do this all the time on Facebook.

References:

1.     Hern, Alex. “Smartphone Now Most Popular Way to Browse Internet – Ofcom Report.” The Guardian, Guardian News and Media, 5 Aug. 2015, www.theguardian.com/technology/2015/aug/06/smartphones-most-popular-way-to-browse-internet-ofcom.

2.     By mid-October, the number of tickets written since the summer crackdown began July 4 hit almost 28,000. “New York: Cell Phone Laws, Texting.” Hands Free Info, 2 May 2016, handsfreeinfo.com/new-york-cell-phone-laws-legislation/.

3.     “History of DUI Laws.” History of DUI Laws, www.liquorlaws.net/duilaws.html.

4.     Zaro, David. “Social Media May Cause Social Anxiety.” Applied Social Psychology (ASP), Penn State University, 6 June 2012, www.personal.psu.edu/bfr3/blogs/asp/2012/06/social-media-may-cause-social-anxiety.html.

Summary of Gullivers Travels

“Judges... are picked out from the most dexterous lawyers, who are grown old or lazy, and having been biased all their lives against truth or equity, are under such a fatal necessity of favoring fraud, perjury and oppression, that I have known several of them to refuse a large bribe from the side where justice lay, rather than injure the faculty by doing anything unbecoming their nature in office.”
― Jonathan Swift, Gulliver's Travels

In the summer of 1982 Eugene R. Hammond, Associate Professor of English at the University of Maryland wrote and published his essay “Nature-Reason-Justice in Utopia and Gulliver’s Travels.” It is through his extensive research and studies, as portrayed within this article; we are able to understand not only the similarities of civic humanism to be found in both the Utopian societies of Thomas More’s Utopia, but also within Johnathan Swift’s Hoyhnhnms.  Hammond states in his opening paragraph the following “In both Utopia and Gulliver’s Travels, reason is intimately linked with the virtue of justice, and in each, the institutional injustice of contemporary society is pointedly satirized through comparison with the impressive (if not perfect) justice of an imaginary, rational society.” (Hammond, 1982) 

With More’s Utopia and Swift’s Gulliver’s Travels the reader encounters similar and yet unique journeys through not only distinguishable and fantastical lands, but we are introduced to races and governments that use three genres as a base for a logical foundation of thought and livelihood: Nature, Justice, and Reason.  It is through these three we encounter what each author was striving for beneath what appears to be simple, and yet complex tales far beyond their periods of time. 

We are able to summarize the intent of each author through their meaning by indexing how they use the words “Nature, Justice, and Reason” through each tale interchangeably.  For each it is simple.  They seek to show for Justice that the law is the law and this applies to all.  Nature on the other hand affects all, and is all.  One cannot exist without Nature; while the concept of Reason is more evolved and complex.  Reason involves thought and purpose.  Within both More’s Utopia and Swift’s GT we are introduced to ideology that is reasonably and unreasonable to the existing governments of both works. 

Both Utopia and GT focus upon the concept of entrenched injustice within the working governments at hand.  For Utopia, More points out how the administrators of the government are “Much more concerned with how, by crook or hook, they may win fresh kingdoms than how they may administer well what they have got.” (Utopia, p. 57) This form of injustice belies the idea of Justice under a ruling power as a solid form of democracy, as Hammond contends.  He further goes into detail by pointing out that similar aspects can be found within Gulliver’s travels by viewing the state of government of King of Brobdingnag and the Houyhnhnms.  In Brobdingnag you encounter a government that feeds off the life of the commonwealth and the poor, while the Rich gorge themselves. 

One could look to modern literature for similarities by beginning with Suzanne Collin’s trilogy “The Hunger Games.” This series of novels are laid out in very familiar patterns as both More and Swift, with the concept of entrenched injustice and the Rich feasting upon the life and blood of the poor.  Collins further uses both Utopia and GT as inspiration for her novels by not only bringing about ideals of Justice, but also Reason and Nature along with the first.  Her trilogy adapts and evolves without losing sight of its base reason – to gain freedom from a corrupt government and develop a democracy where children are not sacrificed for the amusement of the rich.  “Only I keep wishing I could think of a way...to show the Capitol they don't own me. That I'm more than just a piece in their Games.” (Katnis, The Hunger Games)

We again can look at the ideology of Hammond’s essay in the context of today’s society.  More importantly if one is to look back at the 2016 Presidential Election, with the platform of the “Greater Tomorrow,” as promised by Donald Trump we find similarities can be drawn between More’s Utopia and Swift’s GT with the idea of entrenched injustice once more outweighing the need for Democracy.  Hammond states “In both Utopia and Gulliver’s Travels, the authors point to numerous injustices; but at the same time they attempt to shock us into recognizing that these injustices have been cleverly institutionalized.  Government officials in both works show nothing but contempt for the justice they presumed to administer.”  Trump’s own views and speeches have voiced very similar concepts, pushing for the people to realize they have been deceived and manipulated by the government and its “officials” into believing a lie; a lie that the American people are tired of allowing, and it is time to once more make America what it was meant to be by the founding fathers.

Gulliver, himself, gives a description of Justice and Reason when encountering the Government of the Lilliputs: “The first I shall mention, relates to informers.  All crimes against the state, are punished here with utmost severity, but, if the person accused makes his innocence plainly to appear upon his trial, the accuser is immediately put to an ignominious death; and out of his goods or lands the innocent person is quadruply recompensed for the loss of his time, for the danger he underwent, for the hardship of his imprisonment, and for the charges he has been at in the making his defense; or, if that fund be deficient, it is largely supplied by the crown.  The emperor also confers on him some public mark of his favor, and proclamation of his innocence through the whole city.” (GT, p. 162)  Though this form of punishment seems harsh at first it brings back to ideas of Hammond’s essay

1.      The law is the law

2.      The Lilliput’s are not a democratic society, but rather a more entrenched society based upon the concept of injustice, with one possibly facing charges either false or true, but done in such a manner as to ensure either the defender or the accuser walks away with wealth that will expand upon their original state of being at the sacrifice of the other person. 

In conclusion, while More and Swift attempted to give us an ideology based upon reason it is the entrenched injustice of the multiple societies that stand apart shedding light not only upon the virtues of their characters souls, but also upon today’s more modern society and how we look at ourselves and our government as a whole. 

*Professor Eugene R. Hammond is currently on faculty and working as an Associate Professor of English at SUNY StonyBrook in Long Island, NY, where he continues to delve into the ideology of both Thomas More and Johnathan Swift’s works teaching utopian literature to new generations.

References:

1.      Collins, Suzanne. The Hunger Games. NY, NY: Scholastic, 2008. Print.

2.      More, Thomas, Ralph Robinson, and David Harris Sacks. Utopia. Boston: Bedford/St. Martin's, 1999. Print.

3.      Swift, Johnathan. Gulliver's Travels. N.p.: n.p., n.d. Print.

4.      Hammond, Eugene R. “Nature-Reason-Justice in Utopia and Gulliver's Travels.” Studies in English Literature, 1500-1900, vol. 22, no. 3, 1982, p. 445. doi:10.2307/450241.

Penny Dreadful – A Bite into Stoker’s Theatric

David Skal spoke about how Stoker sought to bring his monster to the stage.  His whole purpose in creating the monster “Dracula” was to seek approval and attention from his own “master,” famed theater actor Henry Irving.  Unfortunately, as Skal explains in his essay “His Hour Upon The Stage” Irving was not willing to share his relationship with Stoker, and as such mocked his work; as such Stoker became obsessed with proving himself to Irving. 

This obsession of Bram Stoker’s to produce his monster as a theatrical masterpiece would not be realized within his lifetime, though he would begin the steps that would set the stage itself for the monster to become the greatest of all monsters throughout decades.  Though he did attempt at one time with a “Reading” produced at the Lyceum Theater which was home to both Henry Irving and Stoker.  Stoker’s reading of “Dracula” in fact was 5 hours long.  He attempted to draw Irving into playing the title character of Dracula, but Irving was uninterested, therefore he used other actors from the famed theater for his production such as Whitworth Jones in the titular character of the monster, Herbert Passmore as Harker, and Tom Reynolds as Van Helsing. 

Unfortunately, one of the things Stoker also did in order to make his production more feasible was to adapt his reading to the stage, therefor he changed some of the monologue within the script.  An example of this was Jonathan Harker’s opening speech at the entry to Castle Dracula, of which Skal included in his essay “Hi! Hi! Where are you off to! Gone already! (knocks at door) Well this is a pretty nice state of things!  After a drive through solid darkness with an unknown man whose face I have not seen and who has in his hand the strength of twenty men and who can drive back a pack of wolves by holding up his hand, who visits mysterious blue flames and who wouldn’t speak a word he could help, to be left here in the dark before a – a ruins.”  Though this is only an example the speech continues in this vein for some time, giving the reader a vivid idea of what 5 hours of Stoker’s “Reading” truly entailed.

An example of his work can be seen within the television series produced by Showtime, Penny Dreadful.  Penny Dreadful is a masterpiece collection of Victorian gothic monster under one roof.  Though we have multiple scenes each scene is treated as a single scene within that episode.  You are never lost throughout the show.  The characters interact with each other, and some of them you never see but you know they are there, such as Bram Stoker’s Dracula. 

It is here that Skal’s essay comes to fruition, for throughout the essay he speaks how the monster evolved not only on the stage but in film through single scenes and theater tricks, beginning where often through the play you did not see him.  Rather you would hear his voice and watch the characters body language and faces for signs that he was near.  This is portrayed once more within Penny Dreadful by the character of Vanessa Ives.  She often hears the voice of Dracula throughout the series, but it is not until season 3, the final season, that you are finally introduced to the monster; and even then he is manipulating the situation as he has taken human form in order to deceive his intended victim, Vanessa.  He views her as his “Mina” and his “Lucy” in one package, only it will take the combined work of all characters together in order to save Vanessa from his clutches as she has fallen in “human” and “supernatural” love with him.

Penny Dreadful brings to us classic characters from Stoker’s Dracula while other characters from various literatures take on new dual roles:

Dr. Alexander Sweets – Count Dracula

Ethan Chandler – Jonathan Harker

Vanessa Ives – Mina Harker

Mina – Lucy

Dr. Seward – a woman and head of the asylum Vanessa stayed in earlier

Sir Malcom Murray – Van Helsing

Renfield – a patient of Dr. Seward and a submissive of Dracula’s

Though there are other nods to the characters to be found in Stoker’s novel these are the main players who impact each other.  It is also important to note that Ethan is a werewolf in Penny Dreadful, bringing another famed work of gothic horror to life, “The American Werewolf in London.” The show has also made Mina the daughter of Sir Malcom and the childhood friend of Vanessa, helping to tie the characters all together. 

Though the characters in Penny Dreadful veered slightly off the beaten path from Stoker’s original intent, the show managed to keep to the base personality and attitude he created.  One can feel drawn into the show as one is drawn into Stoker’s tale of horror.  You can feel the fascination with the monster and the intrigue into the setting itself every time Dracula whispers to Vanessa in Penny Dreadful, or seeks to draw her into the shadows.  There is creepiness in the unknown, and yet we would not have this monster or this tale, if Stoker had not become obsessed with proving to his “Master” in his anger, jealousy, and frenetic passion to be accepted as play write worthy of Irving’s talent. 

References:

1.      Stoker, Bram, Nina Auerbach, and David J. Skal. Dracula: Authoritative Text, Contexts, Reviews and Reactions, Dramatic and Film Variations, Criticism. New York: W.W. Norton, 1997. Print.

2.      “Penny Dreadful - Official Series Site | SHOWTIME.” SHO.com, www.sho.com/penny-dreadful.

The Evolution of Women Within The Vampire Genre

Thesis:

Within Bram Stoker’s “Dracula” the female vampire / hunter is presented in manner that would traditionally be viewed in as a seductress or rather the biblical “Lilith/Eve”, aka the temptation of the first woman as told within the Book of Genesis.”  In today’s more modern version of the classical retelling of vampire stories and movies throughout where we often encounter the female vampire / hunter swapping roles with the traditional male, becoming less submissive and more of the dominant lead. 

Through this counter exchange in positions we see less of the seductress within these roles and more of the savior.  It is in my paper we will discuss how women have come to find themselves changing places with men from the time of Stoker’s monster to today’s more modern presentations of Buffy the Vampire Slayer and Underworld, and how Bram Stoker’s mythological ideals about women may have helped evolved their roles, becoming more determined to be less dependent, including the typecast of the traditional villain now being shown as a heroine of whom uses her sexuality, strength and intelligence in order to dominate and control her world around her. 

The Evolution of Women within the Vampire Genre

        Today’s society is more familiar, and at ease, when considering the female role within the vampire genre of entertainment and literature.  Traditionally, these roles would have been considered one of the villains, whether male or female of gender, especially when one considers Stoker’s monster and his creations as portrayed within the classical Victorian based novel “Dracula.” What one should consider is how the role of the female character has evolved from Stoker’s original characters; such as Dracula’s daughters, Mina and Lucy and their more submissive, yet manipulative natures to the more dominant and heroic personality women have evolved into in the 21^st Century.  To understand how this begins one must take a step backwards into Stoker’s own novel, world, and attempt to understand not only his lifestyle of the Victorian England, but also how he attempted to portray women within his novel. 

            While the Victorian woman, as portrayed by Stoker, is often constrained by rules and regulations of 18^th and 19^th century social structures, her sexuality is one that becomes a tool for the woman.  It is within this we first encounter a familiar retelling of the common Christian biblical story of good vs evil of which Stoker uses: “The Temptation of Eve” found in the “Book of Genesis:”

Now the serpent was more crafty than any of the wild animals the Lord God had made.

He said to the woman, “Did God really say, “You must not eat from any tree in the garden?”(Genesis 3:1)

The woman said to the serpent, “We may eat fruit from the trees in the garden but God did say, “You must not eat fruit from the tree that is in the middle of the garden and you must not touch it, or you will die.” The serpent said to the woman “For God knows that when you eat of it your eyes will be opened and you will be like god, knowing good and evil.” (Genesis 3:4)

So the Lord God said to the serpent, “Because you have done this, “Cursed are you above all the livestock and all the wild animals!  You will crawl on your belly and will eat the dust all the days of your live.  And I will put enmity between you and the woman, and between your offspring and hers; he will crush your head and you will strike his heel.”

To the woman he said, “I will greatly increase your pains in childbearing; with pain you will give birth to children.  Your desire will be for your husband, and he will rule over you.” (Genesis 3:16)

  This is an important analogy to be referenced as it continues to influence Stoker’s female characters’ development throughout his novel beginning with the three daughters of Dracula introduced Chapter Three as they encounter Jonathan Harker, and in retribution are confronted, and punished for their actions and attempted seduction of Harker by the Count.  The entire scene is very similar in portrayal to, not only the conversation and manipulation by the serpent, often thought in mythology and legend to be the demon Lilith, (*It is important to make note that while the Christian Bible notes the first woman as being named Eve within the King James Version, there is no actual proof other than myths and legends of Lilith being the first woman spoken of within the story of creation before Eve.) of the first woman, Eve; but also of the punish of the Serpent, and Eve by God is similar in both language and meaning as when Dracula confronts his daughters over the attack on Harker.

“They whispered together, and then they all three laughed – such a silvery, musical laugh, but as hard as though the sound never could come through the softness of human lips.  It was like the intolerable, tingling sweetness of water-glasses when played on by a cunning hand.  The fair girl shook her head coquettishly, and the other two urged her on.  One said—“Go on!  You are first, and we shall follow; yours is the right to begin.”

The other added: -- “He is young and strong; there are kisses for us all.” I lay quiet and looked out under my eyelashes in an agony of delightful anticipation.  The fair girl advanced and bent over me till I could feel the movement of her breath upon me.  Sweet it was in one sense, honey-sweet, and sent the same tingling through the nerves as her voice, but with a bitter underlying the sweet, a bitter offensiveness, as one smells in blood. 

But at that instant another sensation swept through me as quick as lightning.  I was conscious of the presence of the Count, and of his being as if lapped in a storm of fury.  As my eyes opened involuntarily I saw his strong hand grasp the slender neck of the fair woman and with giant’s power draw it back, the blue eyes transformed with fury, the white teeth champing with rage, and the fair cheeks blazing red with passion.  In a voice which, though low and almost in a whisper, seemed to cut through the air and then ring round the room as he said: --

“How dare you touch him, any of you? How dare you cast eyes on him when I had forbidden it.  Back, I tell you all.  The man belongs to me!  Beware how you meddle with him or you’ll have to deal with me.” (Dracula, pp. 42-43)

This again comes up when we encounter the subject of both Lucy and Mina and their individual seductions by the Count, and how not only are they portrayed independently, but also uniquely situated to be re-solved in such a manner as to relinquish ties on Victorian society without causing disruption.  Author Phyllis Roth discussed both women in her article “Sexual Women in Dracula.”  By bringing Lucy and Mina together she is able to show not only the differences, but the similarities of each woman.  Where Lucy uses her sexuality in a time period that does not promote such behavior, Mina is the more submissive of the two.  Lucy is cunning and highly erotic in her approach thinking only of how she can get what she wants at that moment.  Even when she was human she was able to use her beauty and charm in order to manipulate the men and even Mina in order to gain favor.  With Mina, she manipulates by submission, acceptance and intelligence.  She thinks quickly concerning current situations and is often more of a modern “New Woman,” with a façade of a proper Victorian housewife. 

“In accepting the notion of identification with the aggressor in Dracula, as I believe we must, what we accept is an understanding of the reader’s identification with the aggressor’s victimization of women.  Dracula’s desire is for the destruction (submission) of Lucy and Mina and what this means is obvious when we recall his attacks on these two closest of friends seem incredibly coincidental on the narrative level.  Dracula is, in fact, the same story told twice with different outcomes.  And the physical descriptions of Lucy reflect this greater ambivalence: early in the story, when Lucy is not yet completely vampirized, Dr. Seward describes her hair “in its usual sunny ripples;” later, when the men watch her return to her tomb, Lucy is described as “a dark-haired woman” The conventional fairy/dark split, symbolic of respective moral casts (good vs. evil), seems to be unconscious here, reflecting the ambivalence aroused by the sexualized female.  This section of the book ends with her destruction, not by Dracula, but by the man she was to marry.  The novel could not end here, though; the story had to be told again to assuage the anxiety threatening and is ultimately saved.  This time, the mother is much less sexually threatening and is ultimately saved.  Moreover Mina is never described physically…” (Phyllis Roth, pp. 417)

With Mina, she manipulates by submission, acceptance and intelligence.  She thinks quickly concerning current situations and is often more of a modern “New Woman,” with a façade of a proper Victorian housewife. For the character of Mina, we do not encounter physical sexuality, rather intellectual sexuality.  It is her mind that attracts the men of Stoker’s novel and makes them wish to “save” her from the Monster.  It is also here we once more encounter “the Serpent in the Garden tempting Eve with her own destruction.” On one hand we have the men showing admiration for her intelligence and her innocence, until she gives in to Dracula’s seduction.  Once she is no longer “pure” and has been swayed by the temptation of evil their disdain flows through their portrayal, especially Van Helsing and his mannerisms:

Breakfast was a strange meal to us all.  We tried to be cheerful and encouraged each other, and Mina was the brightest and most cheerful of us.  When it was over, Van Helsing stood up and said

            “Now, my dear friends, we go forth to our terrible enterprise.  Are we all armed, as we were on that night when we first visited our enemy’s lair; armed against ghostly as well as carnal attack?”  We all assured him.  “Then it is well.  Now Madam Mina, you are in any case quite safe here until sunset; and before then we shall return—if—we shall return.  But before we go let me see you armed against personal attack.  I have myself, since you came down prepared your chamber by the placing of the things of which we know, so that He may not enter.  Now let me guard yourself.  On your forehead I touch this piece of Sacred Wafer in the name of the Father, the Son, and –“

            There was a fearful scream which almost froze our hearts to hear.  As he placed the Wafer on Mina’s forehead, it seared it – had burned into the flesh as though it had been a piece of white-hot metal. 

        “Unclean!  Unclean!  Even the Almighty shuns my polluted flesh!  I must bear this mark of shame upon my forehead until the Judgement Day.”  (Dracula, pp. 258-259)

            The submission of Mina is completed by Dracula in Chapter 21, though one could almost look at it as a form of revenge not only for the loss of Lucy, but also for the loss of Jonathan.  Author, Hayley E. Tartell, goes into detail concerning Dracula’s corruption and turning of Mina, and her submission and eventual corruption by him in her article “Exploring the Corruption of the Soul in the Works of Oscar Wilde, Bram Stoker, and Robert Louis Stevenson.”

                “Dracula continues to modify his appearance, as he can quite adeptly alternate between human and amorphous vapour form. Dracula specifically demonstrates this ability after Harker walks in as Dracula forces Mina to feed upon him like “a child forcing a kitten’s nose into a saucer of milk to compel it to drink” (Stoker Ch. 21). Harker reacts by lifting his crucifix, thereby frightening Dracula, who proceeds to escape by transforming into intangible water vapor and disappearing under the door. Dr. Seward notes in his diary this visible alteration, as he states, “The moonlight suddenly failed, as a great black cloud sailed across the sky; and when the gaslight sprang up under Quincey’s match, we saw nothing but a faint vapour” (Stoker Ch. 21). In this scenario, Dracula uses vapor as a means of escape. Furthermore, Dracula physically embodies the theme of appearance versus reality, as his looks and outward behavior contradict his underlying motives that lurk beneath the surface.

      As the novel progresses, Stoker continues to expose Dracula’s sinister nature, as the Count behaves brutally towards characters such as Mina Harker. Stoker reveals the underbelly of Dracula’s character, as Dracula is depicted as not only feeding upon Mina, but also forcing her to drink his blood. Dr. Seward recounts the interaction in his diary, stating that Dracula’s “right hand gripped her by the back of the neck, forcing her face down on his bosom” (Stoker Ch. 21). This act of physical aggression illustrates Dracula’s brutality and his simultaneous desire to corrupt her by turning her into a vampire and, in so doing, make her less human.” (Dracula, pp. 247)

            Today, in society, women are less likely to be agreeable to the concept of submission, wishing instead to step forward and play the role of heroin and dominant.  They look at roles such as the traditional villains, as Stoker created within his novel and instead see a way to “save the day.” You see this in the popular movie franchise Underworld produced by Lakeshore Entertainment and Sony Pictures.  The female lead of the franchise, Selene, played by actress Kate Beckinsale portrays vivid “new woman” role in which the traditional woman is aware of her sexuality and intellect, both becoming a tool, while portraying a character that takes on the role of “savior,” much in the similar role of the Biblical Christ, when he sacrificed himself in order to “save” the people, from the romans. Selene does the similar action through the movies in order to save the races of Humanity, Vampires and Lycans, at the cost of her own life.

 “Selene: [voiceover] Though I cannot predict the future, the consequences of this night will reverberate through the halls of both great covens for many years to come. Two vampire elders have been slain, one by my own hand. Soon, Marcus will take the throne, and a tide of anger and retribution will spill out into the night. Differences will be set aside. Allegiances will be made. And soon, I will become the hunted.” (Underworld, 2003)

            This new age role allows the traditional “vampire” genre to become a hero, while also allowing the female to step out of the submissive role and gaining the characteristics Stoker’s male leads portrayed. 

We also see this type of character development in typecasting for popular shows and icons with Buffy the Vampire Slayer, with the main character being a female Vampire Hunter, similar to that of Van Helsing, of whom a team of hunters including vampires, witches and humans work together in order to support Buffy as she attempts to rid the world of evil beings.  Again we have that role of savior of the weak, in the form of a woman with men and women both looking to her for guidance and help. 

In conclusion, though Stoker began his with attempts minimize the role of women by making clear the dominant nature of the men in the novel, he could not hide the strength and influence women had over the men.  Stoker also showed from his earliest chapters the influence of Christianity upon his writings.  This was not simply a story of a monster and good vs. evil, but rather the evolution of moral conduct and through Stoker’s imagination would help create a genre for women, in literary and entertain form.  Here we have women swapping the roles of savior, without losing what essentially are their strongest benefits; both sexuality and intellect, allowing them to manipulate and control their natural world around them. What this holds for our future in this genre only time can tell, but the pattern and cobble stones have been laid.  Now it is up to the next generation of writers.

Bibliography:

1.      Tartell, Hayley E. “Exploring the Corruption of the Soul in the Works of Oscar Wilde, Bram Stoker, and Robert Louis Stevenson.” Inquiries Journal, Williams College, 2015, www.inquiriesjournal.com/articles/1026/2/exploring-the-corruption-of-the-soul-in-the-works-of-oscar-wilde-bram-stoker-and-robert-louis-Stevenson.

2.      Humphery, Robert. “Ideals of the Victorian Woman as Depicted in ‘Dracula.’” The Artifice, 11 Mar. 2014, the-artifice.com/dracula-victorian-woman/.

3.      DIFILIPPANTONIO, ANNELISE. "BRAM STOKER’S DRACULA: A PSYCHOANALYTIC WINDOW INTO FEMALE SEXUALITY." PSU Dept. of English. Pennsylvania State University Schreyers Honors College, Mar. 2011. Web. 10 Dec. 2016.

4.      Underworld. Prod. Richard Wright. Perf. Scott Speedman, Michael Sheen, Kate Beckinsale, Bill Nighy. Sony Pictures Entertainment, 2003. Film.

5.      Buffy the Vampire Slayer Season One. Perf. Sarah Michelle Gellar, James Marsters, Alyson Hannigan, Nicholas Brendon. 20th Century Fox Home Entertainment, 1997-2003. Television Series.

6.      Stoker, Bram, Nina Auerbach, and David J. Skal. Dracula: Authoritative Text, Contexts, Reviews and Reactions, Dramatic and Film Variations, Criticism. New York: W.W. Norton, 1997. Print.

7.      Roth, Phyllis A. Suddenly Sexual Women in Bram Stoker's Dracula. 1977. Dracula - Norton Critical Editions. New York: W. W. Norton, 1997. 411-21. Print.

8.      "Book of Genesis: The Fall of Man." Holy Bible New International Version. N.p.: n.p., n.d. 3:1-:16. Print.

Intro "Selfie" for Digital Storytelling

Shannon Mulstay            

Digital Storytelling

Dr. Nicola Marae Allain

Intro “Selfie”

September 9, 2016

Scene:

For this scene the production will take place outdoors while sitting under a tree in Brandywine Apartments, in Guilderland, NY.  My clothing will be casual and appropriate for the weather, which is sunny and 82 degrees outside.  My hair will be down yet pushed back with a headband.  No makeup or any other applications in order to “polish” the video.  I chose a shady area with sunlight streaming in the background, so as not to cause glare upon the video feed. 

Script:

Self-introduction with all speech by me:

“Hi my name is Shannon Mulstay and this is my intro to Digital Storytelling.  I am 43 years old and live in Guilderland, NY.  I was raised in the New York State Foster Care System and I am an Epileptic.”

“I have two beautiful young ladies as daughters.  One who is 23 and attends SUNY Cobleskill with a major in Applied Psychology.  This is her senior year and she also works for ARC group homes in Schenectady.”

“My other daughter is 17 years old and attends Duanesburg Jr. /Sr. High School, and is a senior also this year.  She is looking to attend either Boston University or hopefully SUNY Stonybrook with a look at their Anthropology programs. “

“I love to garden and take walks.  I am also extremely addicted to Starbucks.  So almost every morning I walk over to Starbucks, over in Hamilton Square Plaza, in order to get either a Chai Latte or an Ice Tea depending upon the weather.  I absolutely love to read and write.  I have a ton of books.  My entire is just filled, filled with books.  My daughters constantly tell me I need more bookshelves.”

“I am looking forward to learning how to write scripts and scenes and this should be a really interesting class.  Thank you and I look forward to talking to you more.”

End dialogue and scene at 1:47 minutes