Frost in his vampire form.

Modern Aspects of Vampires Edit

The vampires in Blade are depicted as more of a mafia compared to the loner characteristic that most traditional vampires take on. They walk amongst the general population, especially at night. This was not very common in other works about vampires. In the movie, the vampires are essentially the corrupt mafia that control other institutions through bribery and blackmail, both of which Frost is successful

at. Frost’s main goal is attaining power over all the vampires so that he no longer is rejected by the purebloods.

Another interesting addition is the notion of purebloods versus halfbloods. In the case of many vampires, they were bitten by a vampire and then turned into one themselves. Purebloods were born vampires. That leaves Blade in the “other” category; half vampire half human because of a mutation. This movie creates a whole new perspective one who may be an outsider. On one side there are the halfbloods who are trying to take over and on the other side are the purebloods who are trying to maintain the status quo. That leaves blade as an outsider, as he is not even fully vampire, yet he is almost superior because he has the best attributes from both species.

Traditional Aspects of Vampires Edit


Frost making out with Raquel after feeding.

Originally, vampires were in tales and in literature in order to express the worries of gender, sexuality, othering, etc. In Blade, many of these themes are apparent. As mentioned before, Blade is not a full vampire and so he is and in-between type of vampire which makes him one of a kind. Because he is different, he does not fit into any category and that leaves him as an outsider to his world. This relates back to Cohens 3rd thesis: "The Monster is the Harbinger of Category Crisis". Cohen states, “…they are disturbing hybrids whose externally incoherent bodies resist attempts to include them in any systematic structuration. And so the monster is dangerous, a form of suspended between forms that threatens to smash distinctions” (Cohen, 6). For this reason, Blade becomes the antihero in which he protects humans from the vampires, while suppressing his own vampire instincts.


Dracula engaging in romantic contact with Mina.

Another theme seen in the movie is gender and the parallel between bloodlust and sexuality. The movie depicts women as groupies of Frost, specifically at his house party when Quinn says that the two girls were dying to meet Frost. This gives the idea that women are prizes that result with increased power. This is also seen in Dracula when the three brides of Dracula try to entice Jonathan. Also, Dracula's ruthless behavior towards Mina brings a sense of familiarity when comparing it to Frost's animalistic behavior in the movie (Coppola, 1992). Like Lucy in Dracula, Karen seems to be the only exception to gender roles.

The bloodlust, then, is seen as something sexual because of the vampire’s pleasure that comes from feeding from humans. When they feed, it is very explicit and so the characters in the movie hold this parallel true in the scenes in which the vampires feed.

Classes also play a big role in the movie. Purebloods typically have more esteem than the halfbloods do. The halfloods are looked down upon especially because they dare to threaten the system that the vampire council has established and stuck to. The humans then, are really just as peasants were seen; they are blood bags and really have no importance in the vampire world (other than food).

References Edit

Cohen, Jeffrey. "Monster Culture: Seven Theses". Print.

Bram Stoker's Dracula. Dir. Francis Ford Coppola. 1992.

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