Bacteria and vampirism in the cinema Bactéries et vampirisme au cinéma

Abstract

A vampire is an undead and lifeless fantasy animal that, according to various legends and well-known images, draws on the blood of the living to draw indispensable power. Vampires do not duplicate themselves by intercourse, but by chewing. Thus, vampirism is like an infectious disease reduced by intravascular inoculation with an imaginary microbial beginning. In several vampire films, two real microscopic organisms were organized, better coordinated than others in the famous creative mind: Yersinia pestis and Treponema pallidum. Bacillus vampiris was created for science fiction. These films try to characterize people even more likely through perhaps their greatest fear: an overwhelming illness.

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Un vampire est une créature chimérique ni morte and non-vivante qui, suivant jumpers old stories et odd notions populaires, se nourrit du sang des vivants afin d'en univer une force vitale Vampires do not reproduce in standard relationships with standard morsure. Le vampirisme s'apparenterait je ini à une contagieuse contagieuse standard intravascular immunization dont he peut soupconner unne origine microbienne. Dans les nombreux movies de vampire le cinéma a mis en scène deux bacteria bien reales, mieux intégrées que d'autres à l'imaginaire Collectif : Yersinia pestis et Treponema pallidum. Pour la sci-fi, il a créé Bacillus vampiris. Tous ces films sont autant de tentatives pour cerner un peu mieux l'individu au travers de l'une de ces except grandes craintes: la maladie infectieuse.

1. Presentation

A vampire is an undead and unliving fantasy animal that, as various ancient stories and famous imaginings suggest, draws on the blood of living creatures, drawing on the blood to gain elemental power. The legend of vampires has its origin in ancient fantasy customs, and vampire-like animals are observed in various societies around the world.

In 1200 years vampires should be so normal in Britain that they were burned to answer the populace's backlash. Similarly, in the 15th century, an outbreak of the plague made the vampire enemy a free-for-all (especially in Eastern Europe).

The new discovery of a 16th-century normal grave on a tidal pool island in Venice that contains the remains of a female "vampire" (or perhaps so perceived by her counterparts) supports the hypothesis that "vampires" were accepted during this period. to be liable to outbreaks like the plague. The body found on the island of Lazzaretto Nuovo was covered with a block wedged between its jaws, which probably prevented it from sucking the blood of individuals causing the disease, an episode of which broke out in the city in 1576.

The nature of the vampire turned out to be especially normal in Eastern Europe, at the beginning of the XVIII. century, in the Balkans, in Greece, Romania, Bulgaria, and especially in Serbia, where the word vampire originally appeared during the preparations of Arnold Paolo in 1732. This possibility revealed that it was sought by the vampire during his tactical assistance. Not long after his death, there were reports of victims with hollows in their necks in Paole's town. A military specialist decided to open his grave and traces of blood were found on his body, especially around his mouth. The body was "terminated" with a wooden stake, and witnesses were horrified to hear the corpse control utter a hoarse and powerful scream when the stake was driven in any way.

Vampires regenerate not by making love, but by chewing. According to mainstream thinking, "people who are mostly killed by a vampire become vampires themselves" can be studied on pages 63 to 69 of the May 1693 issue of the Mercure Galant.

Subsequently, vampirism (as the depravity of the attacker getting to his victim) could be equated to an infectious disease beginning with a microbial disease in light of the immunization method of transmission during chewing. The microorganism is so shocking that there is a risk that the victim will turn into a vampire.

Furthermore, long before the discovery of immunizations, Prussian and pure workers reassured themselves by ingesting some blood found in vampire graves or spreading some dirt from a similar grave around their homes.

2. Yersinia pestis and vampirism

The vampire theme excited German artists and essayists beginning around 1748, when Heinrich Augustin von Ossenfelder composed a book of verse including a sonnet entitled "Der Vampyr". It was continued in 1773 by Bürger's "Leonore" and in 1797 by Goethe's "Bite the dust braut von Korinth" (Fig. 1). In "Bite the dust braut von Korinth", Goethe recounts the story of a young lady shrouded in "undead" benefiting from blood to get around in the grave.

Giant. 1. Movie banners Nosferatu, eine Symphonie des Grauens (1922), The Vampire of Nosferatu (1922) by Manau, Count Dracula and the Vampire Lady by Alan Gibson (1973), Leonor by Juan Luis Buñuel (1975) Fig. , and Werner Herzog's Nosferatu Nocturnal Apparitions (1979).

Affiches des movies Nosferatu, eine Symphonie des Grauens (1922), Nosferatu the Vampire (1922) by Manau; Alan Gibson's Count Dracula and the Vampire Lady of the Clock (1973); Juan Luis Buñuel's Leonor (1975) and Werner Herzog's Nosferatu Fantôme de la Nuit (1979).

John Polidori created the most appealing and complex vampire character in contemporary fiction in 1819. In his book "The Vampire" the legend of the living and the dead was fueled by the master Byron; to be sure, Polidori was his own doctor.

In addition, it was "Dracula" by Bram Stoker, written in 1897, which became the standard of the class and decided the vampire picture, which is still famous in fiction, although it was not very different from its legendary predecessors, which he only preserved. almost no unique specifics.

The first cinematographic variation of Bram Stoker's book was most likely the one created by Murnau in 1922: "Nosferatu, eine Symphonie des Grauens"1. Be that as it may, the situation does not exactly follow the plot of the book, due to the fact that Murnau was unable to buy the copyright from Stoker's widow for various reasons. Names and locations have been changed. Even Nosferatu was completely different from Dracula: he was pale, unbending, naked and disfigured, corpse-like with wasted arms and a scowl, while Stoker's Dracula was a smooth, rich, confusing and refined polite fellow. Murnau's influence on vampire films was extensive, as in his film his vampire was destroyed by sunlight (this photosensitivity contrasted with that of porphyria), although in Bram Stoker's book, include Dracula walking outside for all to see. Ever since Murnau's film came out, sunlight has become the vampire's equivalent of death.

Murnau was associated with vampirism and plague in this film show, as the ship carrying Nosferatu to Wismar was additionally diseased (Fig. 2). The investigation into it was actually a plague, or on the other hand assuming it was the main clarification the populace was following, terrified by the growing number of mutilated and bloodless corpses. The sight of rats on the ship and in the harbor helped to confuse the crowd: were the rodents and their beetles carriers of disease, or would they say they were just partners in a "vampire plague" coming from distant Europe and contaminating Wismar?

Giant. 2. The first shot of Murnau's Nosferatu showing rodents leaving the ship's hold with final resting places and vampire plague fog; a scene showing the importance of rodents in Nosferatu Nocturnal Apparitions by Herzog.

Première picture du film Nosferatu de Murnau showing the rodent forest sortant de la cale du navire convoyant les cercueils et les brumes pestilentielles du vampire ; scene showing l'importance des rodents in Nosferatu Fantôme de la Nuit de Herzog.

In 1979, Werner Herzog adapted Bram Stoker's book: "Nosferatu Night Apparition", a film that won four awards and three nominations2. It was the story of Hutter, a young representative of a public accountant who went to complete a deal with the owner of a palace in the Carpathians. After compromising experiences and nasty admonitions, he was given to Count Orlock, who was actually a resurrection of the vampire Nosferatu. Plague is firmly designed with various rodents representing the disease (Fig. 2).

"The Evil Rituals of Dracula" was made by Alan Gibson with Christopher Lee in 19733. In the film, Van Helsing finds the evil masses created by a bizarre predecessor in mysterious London: Dracula face to face. The last resort, aided by military manpower and wealthy industrialists, decided to disrupt the English system and spread the Dark Plague. Van Helsing should fight him;

•"Leonor" was produced by Juan Luis Buñuel in 1975 with Michele Piccoli and Liv Ullmann4. This action takes place in the Middle Ages: the ruler, at first melancholy, remarries and soon the phantom of his most memorable husband comes to him. Stranger designs to bring his significant other Leonor to the resurrection and he accepts it. However, Leonor has turned into a vampire and a plague begins to break out. A gripping middle-aged atmosphere in this film cements the romantic story and passing with the relationship of a living corpse and a pestilence carried by a malevolent breeze.

3. Treponema pallidum and vampirism

The top game Helping the Pandemic took the initiative from the plague as a symbolic representation of the transition of the plague. Before Helps, syphilis had left a deep representational imprint in general oblivion, and many films exploited this sensational power. Mentions of the plague, so present in "Nosferatu", have been replaced by fears of diseases sent by help and blood, an advanced plague. The image of flowing red blood cells on the screen is significantly more significant today than seeing a couple of rodents running around. There are many references to sexual debauchery and its internal consequences. No partner vampirism movie has been made and it helps; this begs the question of the necessary time frame, which is forgotten in the summary, for another pandemic irresistible disease to kick-start cinematic creation.

Speculation that Dracula creator Bram Stoker would move on from the Syphilis sequel has been ruled out recently. In Coppola's film "Bram Stoker's Dracula", the teacher Van Helsing first appears during a lecture on physically transmitted diseases5.

"Bram Stoker's Dracula" is a current rendition of the vampire legend (Fig. 3). Lucy, a sex-hungry young lady who directly courts 3 men, quickly turns into Dracula's victim, while Jonathan must escape the 3 evil spirits holding him in the palace. The arbitrariness of middle-class society focuses on the word SIN, which appears in the liquid that bottles the absinthe bottle brand.

Giant. 3. Banners for Bram Stoker's Dracula by Francis Passage Coppola (1992) and Dracula by Bill Hawks (2006).

Supplements to Bram Stoker's Dracula de Francis Portage Coppola (1992) and Dracula de Bill Birds (2006).

The innate malevolence of intercourse is brilliantly displayed in the same Coppola-typical turn of events between Mina and Jonathan's wedding and Lucy being killed by Dracula as a wolf. Specialist Van Helsing was the person who put it best: "Human progress and syphilis progressed together". For the cinematographic adaptation of Bram Stoker's novel, it turns out as expected.

4. Bacillus vampiris: recognized specialist in vampirism

"I'm Legend" by the American creator Richard Matheson is considered an incredible exemplary science fiction novel (Fig. 4). It was distributed in 1954 and has been adapted as a film several times.

Giant. 4. Banners for The Keep going Man on Earth by Ubaldo Ragona (1964), The Omega Man by Boris Sagal (1971) and I'm a Legend by Francis Lawrence (2007).

Affiches des movies The Keep going Man on Earth d'Ubaldo Ragona (1964); Omega Man by Boris Sagal (1971) and I Am Legend by Francis Lawrence (2007).

This is the story of the disastrous fate of Robert Neville as the last winner of the pandemic that began in California. This outbreak was caused by a bacillus, which the bacteriological legend was able to isolate and which the creator named Bacillus vampiris. Not recorded in the authoritative bacterial scientific classification at this point, this bacterium turns humans into wasted and cannibalistic creatures that are sensitive to UV light to redeem themselves in daylight. Any individual contaminated with this bacillus becomes hypersensitive to the smell of garlic, causing sickness and vomiting. The bacterium secretes an isotonic arrangement in the blood, "the presence of which dials back the blood circulation, but guarantees the useful activity of the whole body. The bacillus benefits from the new blood (capture of iron by overexpressed siderophores) and supplies the body with the necessary energy ( symbiosis, arises from sporulation or induction of bacteriophages. It can live without regardless of oxygen (optionally air anaerobically, it lives in beneficial interaction with the whole frame) the bacillus gives energy to the vampire, so the vampire can keep supplying the bacillus with new blood.

The animals that took the disease out of humanity are beasts that humans can be protected from simply to the end. The legend was vaccinated by a bat (threat of rabies infection?).

"The Keep go Man on The Planet" was made by Ubaldo Ragona in 1964. In this film, Robert Neville is the definitive obstacle to the introduction of another social and organic demand, vampires7. It should be disposed of. He is the last Man to enter the "legend", sentenced to death ad libbed by the vampire court.

In Boris Sagal's 1971 adaptation of "The Omega Man" ("The survivor" in French), the vampires were replaced by pale-skinned humans dressed as archaic monks8. The critical vision of a devastated Los Angeles, while Charlton Heston drives the roads covered with wrecks and dead bodies, contributed immensely to the prosperity of the film, which quickly turned into a faction and an exemplary dystopian science fiction film. This film had the legitimacy to practically present and rarely surfaced the threat of the bacteriological plague, which in reality remains very present to us.

The latest variant retains the first title "I am Legend" created by Francis Lawrence in 20079. In this form, the infection, which is expected to correct the malignant growth, transforms and destroys 90% of people. Most of the survivors suffer from rabies and are turned into nocturnal animals recommending vampires. The others (1% of people) did a phenomenal job. One of them, tactical researcher Robert Neville, played by Will Smith, has New York to himself and decides to find a cure that will save the world.

5. The end

Vampirism is the subject of an extraordinary filmography, almost 200 films.

A Canadian film made by David Cronenberg in 1977 should be referred to as being associated with infections. It's a return to the "underground" rendition of the vampire legend, as indicated by the filmmaker. In this movie, vampires don't have longer teeth, but a member located in the armpit.

When it comes to microscopic organisms, only nine films have suggested a connection between vampirism and irresistible diseases.

Due to their representative power, the two microscopic organisms responsible for the overall plague were used:

•Yersinia pestis for its transmission and lethality as a virtually undeniable terrifying scourge. Between authenticity and imagery, the disease that afflicted humanity with 3 realized pandemics was richly used in cinematography;

•Treponema pallidum, less dire in its symptoms and contagiousness. Represents physically contagious bacterial infections before period helps.

Moreover, the bacterial animal variety, Bacillus vampiris, was created for science fiction to answer, not without reason, the need to combine the threat of bacteriological plague with a revision of the usual vampirism.

Moreover, these films are an effort to make people most likely to realize that people have quite possibly their greatest fear: an irresistible disease.