The Hunger, directed by Tony Scott

Thus where vampire movies argon concerned, intertextuality has been a fait accompli for some time. It remains, therefore, to account the shape that an intertextual exercise such(prenominal) as The Hunger takes vis-?-vis the vampire- burgeon forth genre, where and how it mediates and navigates the aesthetics of pictorial matter order and film innovation, whether by way of narrative content, style, or pattern of ideas.

A useful point of departure in The Hunger is the restoration of reflected images, in particular faces in the mirror but in any case of behavior. At one level, this behavior is a feature of what occurs as characters mirror and model one another. At another, it is the behavior indwelling to the genre of horror movies in general and vampire motion picture in particular.

As Cohen anticipates for what he calls controlling metaphors in film (212), the reflected image in The Hunger functions something like a contain metaphor for the principle of reflection and replication, not only as an element of visual narration but also in respect of the master vampire narrative that became part of public culture over the course of the 20th century.

To see how the algorithmic image of the mirror operates in The Hunger, it is useful to first identify the patterns of occurre

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