Vampires have fascinated audiences for over a century. Their portrayal in cinema has evolved remarkably, reflecting changes in societal values, storytelling techniques, and cultural fears.

“Modern audiences are drawn to vampire stories that explore the human condition. Whether it’s through romantic entanglements or moral dilemmas, vampires serve as mirrors to our own desires and fears,” Advanced Filmmaking professor at Fanshawe College Joel Merritt said.

The origin of vampires in movies can be traced back to the silent era, with one of the earliest and most iconic films being Nosferatu: A Symphony of Horror (1922), better known as Nosferatu. Directed by F.W. Murnau, Nosferatu introduced audiences to Count Orlok, a grotesque and malevolent vampire portrayed by Max Schreck.

“In the original Nosferatu, the fear centres a lot on the plagues. So, Nosferatu brings hordes of rats in when he sails in the ship, and that’s very much looking at like that fear of disease and the plague that people have gone through, as well as Nosferatu, when you dive in, is kind of this fear of this immigrant that comes over and is different,” Merritt said.

The film set the template for early vampire portrayals: monstrous, inhuman, and driven by a primal thirst for blood.

“Vampires often symbolize our deepest fears and desires,” Creative Writing professor at Fanshawe College Meg Howald explained. “In earlier films, they were portrayed as embodiments of evil, often in conflict with symbols of faith like crucifixes.”

Florence Stoker filed a lawsuit against the film in 1925, claiming that it plagiarized her late husband’s novel Dracula, published in 1897. As a result, all known copies of the film disappeared. However, some copies remained in countries where the lawsuit did not reach due to the film's widespread success.

Over the years, the movie Nosferatu has acquired loyal followers and is considered a classic nowadays.

According to Howald, “The evolution of the horror genre, in general, has been significant. Filmmakers began infusing vampires with human traits and emotions, transforming them into complex characters rather than monsters.”

A seminal moment in vampire cinema arrived with Universal Pictures’ adaptation of Bram Stokers Dracula (1931), starring Béla Lugosi as the suave and charismatic Count Dracula.

Lugosi’s portrayal not only solidified the image of Dracula as a seductive aristocrat but also transformed vampires into cultural icons. Dracula became synonymous with elegance and danger, captivating audiences with his hypnotic gaze and aristocratic charm.

At the end of the 1950s, viewers were finally able to see an adaption of Dracula in full colour, which was much more faithful to the original story. Dracula (1958) was directed by Terence Fisher and starred Christopher Lee as the Count and Peter Cushing as his adversary, Doctor Van Helsing.

In 1979, audiences were treated to another remake of Nosferatu, directed by Werner Herzog and starring Klaus Kinski. This film follows the plot of the silent film but with slight variations. For example, the characters have names from Bran Stoker’s novel, so Count Orlok officially became Dracula.

As cinema progressed, so too did the portrayal of vampires.

In the1980s, films like Fright Night (1985), The Lost Boys (1987), and Near Dark (1987) introduced a new generation of vampires: rebellious, youthful, and often portrayed as outsiders. These films shifted the focus from horror to humanity, exploring themes of adolescence, identity, and the struggle for acceptance.

“Fright Night is so much fun,” Howald said. “It balances comedy and horror so perfectly. It takes you right to the edge of terror.”

In 1992, Francis Ford Coppola adapted the original Dracula novel for Bram Stoker’s Dracula, which is, to date, the second-most faithful version of the original novel after Nosferatu.

Gary Oldman’s performance in unforgettable, incredibly accompanied by Winona Rider, Keanu Reeves, and Anthony Hopkins. A production in which the staging stands out in both scenery and costumes, the film won three Oscars, for achievements in Costumes, Makeup, and Sound.

This trend towards humanization culminated in the modern classic Interview with the Vampire (1994), where vampires grapple with immortality, morality, and the weight of their own existence.

The turn of the 21st century brought a diverse and nuanced wave of vampire depictions, including a different perspective on Nosferatu.

“Shadow of the Vampire (2000) is a fictional telling of the making of the film Nosferatu. The movie is about a fictional story where F.W. Murnau is the director, and he casts a real vampire as Nosferatu. And that vampire is played by Willem Dafoe. So, it’s neat that it all ties together,” Merritt said.

Movies like Let the Right One In (2008), a Swedish romantic horror film, and the blockbuster phenomenon Twilight (2008) introduced vampires as sympathetic protagonists dealing with love, loss, and the complexities of their existence.

But without a doubt, one of the great films of this new century related to the vampire theme is Only Lovers Left Alive (2013), directed by Jim Jarmusch, in which Jarmusch delves into vampires as timeless beings immersed in art, music and philosophical contemplation.

“These films challenge traditional vampire tropes,” Howald noted. “By portraying vampires as beings capable of love, empathy, and self-discovery.”

Looking ahead, the future of vampire cinema appears poised for innovation and reinvention.

“Filmmakers continue to find new ways to explore vampire mythology,” Merritt said. “From psychological thrillers to genre-bending comedies like What We Do in the Shadows (2014), vampires remain a fertile ground for artistic expression and social commentary.”

One upcoming project generating buzz is Robert Eggers’ new remake of Nosferatu, slated for release on Dec. 25. This version will feature stars such as Bill Skarsgård as Count Orlok, Nicholas Hoult as Thomas Hutter, and Lily-Rose Depp as Ellen Hutter.

Eggers, known for his meticulous attention to historical detail in films like The Witch (2015) and The Lighthouse (2019), promises to bring a fresh perspective to the iconic vampire tale.

“Eggers’ approach reflects a growing interest in revisiting classic horror with a contemporary lens,” Merritt said. “Balancing homage with innovation.”

From monstrous antagonists to complex protagonists grappling with morality and identity, vampires continue to fascinate and resonate with audiences worldwide. As the genre evolves, one thing remains certain: vampires will remain as enduring symbols of our deepest fears, desires, and reflections of humanity.