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No use of literature is ever written without thought of the context of the period of time of which it had been assembled. Dracula, by Bram Stoker, and the movie adaptation of the identical text by Francis Coppola, differ greatly in attitudes, beliefs and values despite how the film relies on the text. What's more, the added vases that no doubt make the movie longer pleasing to the viewer such as increased gore drown from the symbols of beliefs and values conveyed through the individual text. Because of this, the transition of moderate as well as the shift in context has highly warped the worth and meaning imbued within Dracula. It's evident from analysis of the first text that it's very much built inside the framework of the patriarchal and repressed 19th century context. In Victorian England, saying of female sexuality was very much depended upon and just two polar opposite countries of sexuality been вЂ" that of the pure, chaste virgin, and also of the somewhat soiled spouse and mom. When contemplating the major female figures, the first discrepancy between the movie and the book looks. In the book it's very apparent throughout that Dracula is trying to turn into the chaste Lucy and Mina in their opposites вЂ" into Nosferatu, vampires and also embodiments of this suppressed sexuality that in many ways defines the original text. Nevertheless, in the movie Lucy is almost amazingly intimately aware, and is quite forward with Quincey specifically before she's under the effect of Dracula. Blatant sexual imagery is revealed in the film where Lucy attempts to seduce Quincey, as obvious in her appraisal of his dagger. As she yells in hot tones, so вЂњOh please let me touch it, itвЂ™s so bigвЂќ referring to this phallic symbol of his dagger we.