Vampires on the Silent Screen: Cinema’s First Age of Vampires 1897-1922

Preface
	What Kind of Vampire?
	Probing ‘loss’
	Regarding Origins
	Approaches to Blood-suckers
Thanks and Acknowledgements
Contents
List of illustrations
Chapter 1: From Time’s Beginnings
	Magic Lanterns and Vampires
	Mesmerism, Spiritualism and the Psychic Vampire
	The Occult, Vampires and Occult Detectives
	Psychic Detectives
	References
Chapter 2: The Cinematic Vampire 1896–1922: Vampire Bats and Vamps and Thieves
	Vampire Dances and the Emergence of Vamps
	A Vamp There Was
	The Litigant, the Censor and the Vampire
	References
Chapter 3: The Vampire as Spirit of Fire: Leopold and Theodore Wharton’s The Mysteries of Myra (1916)
	Myra’s Predicament
		The Vampire Arrives
		Questioning the Vampire
		Fire Elemental as Vampire and the Blood Osmosis
	Like a Sponge
		Technology of Capture and the Release
	The Fire Elemental: Nemesis of the Great War
		From the World of War to Invisible World
	References
Chapter 4: Count Merlin and the Alchemy of Blood Lust: Alexander Korda’s Mágia/Magic (1917)
	Divergences from Vampire Themes
	Alchemical Romance
	References
Chapter 5: The Blood-Demon and the Scientist: Erich Kober’s Lilith und Ly / Lilith and Ly (1919)
	Lilith- What Is in a Name?
	Hybridity
	Closer to Home
	References
Chapter 6: Dreaming in the Madhouse Károly Lajthay’s Drakula halála / Dracula’s Death (1921)
	References
Chapter 7: Counterfeits and Genuine
	Genuine and a Genuine Vampire?
	Genuine: What Is in a Name?
	In Melo’s House
	To See and Be Seen: Die Neue Frau as Vamp or Vampire
	References
Chapter 8: F. W. Murnau’s Nosferatu
	The Vampire: Man and Demon
	Belial’s Spawn
	Nosferatu: The Demonic Dimension
	The Occult, War and Eco-Theory
	Reasons for Re-evaluation
	Conclusion
	References
		Filmography
Bibliography
Index