1. Ingmar Bergman employs images of vampirism—neck biting and blood sucking—to powerful effect in Persona (1966), his most self-reflexive film. [BACK]

2. Not loosely enough: Stoker's widow successfully prosecuted Murnau, which may account for the disappearance of the original negative. [BACK]

3. Herzog's simplification of the narrative frame has the same effect as would eliminating the frame story from The Cabinet of Dr. Caligari , thereby restoring the screenwriters' original subversive intent. [BACK]

4. Badham's Dracula also foregrounds the sexual themes, with Lucy portrayed as an early twentieth-century feminist who openly responds to the count's seduction. [BACK]

5. This scene recalls many similar hallucinatory moments in Herzog's work, most notably the response of the raftsman in Aguirre, Wrath of God first to seeing a ship atop a tree and then to being shot by unseen natives: "That is no ship. That is no forest. This is no arrow." [BACK]