D
Dacy, S. C., 195
Damned If You Don't (1987), 225 fig., 227 fig.;
Black Narcissus implant in, 224 –26, 227 –28, 234 n31;
equivocal referents of, 229 –30, 234 n33;
ethnic restraint of, 225 –26;
framing/costuming of, 228 ;
lesbian desire in, 218 , 224 , 227 –28, 229 , 233 –34n25, 234 nn31,33;
racism/sexism linkage of, 226
Dances with Wolves (1990), 74 , 78
Dangerous Encounters—First Kind (1980), 198
The Dark Knight Returns (1986), 289
Day, Doris, 59 , 65 fig., 67 n3, 112 n7
Day for Night (1973), 179
Dead/undead theme:
of Dracula films, 263 –64, 273 n6
Dean, James, 121
Dee, Sandra, 201
The Deer Hunter (1978), 193 , 196
De Havilland, Olivia, 72 , 72 fig.
Delamater, Jerry, 7
Del Zio, John, 27 –28
DeMille, Cecil B., 28
De Niro, Robert, 2 , 6 , 50 fig.
Denshaw, Pat, 74 –75
De Palma, Brian, 29 , 37 , 135 , 138
Derrida, Jacques, 8 , 148 , 158 , 159
Desser, David, 99
Devine, Andy, 82 fig., 301
DeVito, Danny, 30
Dialogue:
in theater vs. cinema, 298 –300
Diamond, Neil, 95 , 103 fig., 104 , 105 , 111
Diary of a Chambermaid (1946, 1964), 29
Dick Tracy (1990), 285 –86, 288
Diderot, Denis, 3
Didion, Joan, 92 n6
Die Hard (1988), 134
Dietrich, Marlene, 44
Director. See Film director
The Dirty Dozen (1967), 193 , 194 , 195 –96
Disease:
desegregation tied to, 23 –25;
in Dracula films, 244 , 263 –64
Dmytryk, Edward, 29
Doane, Mary Ann, 214
Dockstader, Lou, 106 –7
Dominant cinema. See Hollywood films
Donner, Richard, 29
Dorfman, Ariel, 127 n7
Doubling structure:
of I Confess , 45 ;
of The Man Who Knew Too Much films, 55 –56, 62 , 66 , 68 n10;
moral ambiguity of, 43 ;
of Stage Fright , 44 ;
of Strangers on a Train , 46 –47
Douglas, Michael, 38
Down and Out in Beverly Hills (1986), 191
Do You Remember Dolly Bell? (1981, Sjecas Li Se Dolly Bell? ), 180 , 183 , 188
Dracula (1931, Browning), 240 , 245 , 256 fig., 273 n1;
belief/disbelief theme of, 259 , 260 ;
dream quality of, 255 ;
Stoker's story elements and, 261 , 262 –63;
universal Dracula themes of, 265 , 267 , 270
Dracula (1973, TV adaptation), 273 nn1,8
Dracula (1979, Badham), 29 , 240 , 249 n4, 253 fig., 256 , 273 n1;
mental institution of, 260 ;
as romanticization, 252 , 273 n3;
Stoker's story elements and, 261 , 262 , 263 ;
universal Dracula themes of, 265 , 266 , 267 , 270
Dracula (Stoker), 261 , 262 ;
adaptations of, 241 –42, 249 n2, 250 , 273 nn1,2;
belief/disbelief aspect of, 258 –59;
universal Dracula themes of, 264 , 267
Dracula films:
anthropological reading of, 251 , 271 –72;
anti-Christ theme of, 265 –66;
dead/undead theme of, 263 –64, 273 n6;
development of Dracula figure in, 261 –63;
dream quality of, 252 –53, 255 –58;
inversion of motherhood in, 269 –71, 274 n10;
perception/representation in, 258 –60;
sexual repression theme of, 266 –68
Dracula Has Risen from the Grave (1968), 269
Dracula myth:
bestial ties of, 272 , 274 n14;
films' development of, 261 –63;
transcendent significations of, 250 –51, 270 ;
undifferentiated gender of, 271 , 274 nn12,13.
See also specific Dracula films ; Dracula films; Vampires
"Dramedy" genre, 316 –17
Dreaming:
in Dracula films, 252 –53, 255 –57;
spectatorship and, 257 –58
Dream On (HBO series), 136
Dreyfuss, Richard, 117 fig., 117 –18, 120
Druxman, Michael B., 126 n1
Dryden, John, 2
Duchamp, Marcel, 132
Dujmovic, Davor, 176 , 176 fig., 183
Dunne, Irene, 116 , 120
Dunne, John Gregory, 83 , 92 n6
Duras, Marguerite, 234 –35n34
Dyer, Richard, 84