Editing Dracula (section)

==Legacy==
=== Adaptations ===
<!--NOTE: DO NOT ADD POPULAR CULTURE DERIVATIVES HERE. USE THE MAIN ARTICLE [[Dracula in popular culture]]-->
{{further|Count Dracula in popular culture}}[[File:Bela lugosi dracula.jpg|thumb |alt= Man with dark hair, pale skin and wide eyes |right |[[Bela Lugosi]] as Dracula in [[Dracula (1931 English-language film)|a 1931 adaptation]]]]
''Dracula'' has been adapted many times across virtually all forms of media. Scholars [[John Edgar Browning]] and [[Caroline Joan S. Picart]] note that the novel and its characters have been adapted for film, television, video games and animation over 700 times, with nearly 1000 additional appearances in comic books and on the stage;{{Sfn|Browning|Picart|2011|p=4}} in 2015, the ''[[Guinness Book of World Records]]'' named Dracula the most portrayed literary character, noting he had appeared almost twice as much as Conan Doyle's [[Sherlock Holmes]].{{sfn|GBWR|2015}} Literary critic [[Roberto Fernández Retamar]] deemed Count Dracula—alongside [[Frankenstein's monster]], [[Mickey Mouse]] and [[Superman]]—to be a part of the "[[Cultural hegemony|hegemonic]] Anglo-Saxon world['s] cinematic fodder".{{sfn|Retamar|Winks|2005|p=22}} Across the world, new adaptations can be produced as often as every week.{{Sfn|Browning|Picart|2011|p=7}}

Adaptations were produced during Stoker's lifetime. Stoker's first theatrical adaptation (''Dracula, or The Undead''); was read once at the Lyceum Theatre. While the manuscript was believed lost,{{Sfn|Stuart|1994|p=193}} the [[British Library]] have extracts of the novel's [[galley proof]] with Stoker's handwritten stage directions and dialogue attribution.{{Sfn|Buzwell|2014}} A Swedish newspaper serialised an adaptation from June 1899 to February 1900 as ''Mörkrets Makter'' ("[[Powers of Darkness]]"). This version is almost twice as long as Stoker's novel, containing elements included in Stoker's notes but not in the published novel. The adaptation contains an author's preface signed "B. S", which Eighteen-Bisang and Miller conclude was not written by Stoker. Although believed lost, the Swedish adaptation was rediscovered and published in 2017.{{Sfn|Stoker|2019|pp=299–304|ps=. [Appendix 7: "Early Swedish and Icelandic Adaptations of Dracula"]}} In 1901, [[Valdimar Ásmundsson]] translated a heavily abridged version of the Swedish adaptation into [[Icelandic language|Icelandic]] under the title ''[[Powers of Darkness (Iceland)|Makt Myrkranna]]'' ("Powers of Darkness"). The adaptation included an abridged author's preface, purportedly by Stoker.{{Sfn|Davison|1997|pp=147–148}} Scholars knew the Icelandic version had existed since the 1980s because of the preface attributed to Stoker. When the Swedish translation was rediscovered, scholars learned that the Icelandic version had been translated from it rather than Stoker's ''Dracula''.{{Sfn|Stoker|2019|pp=299–304|ps=. [Appendix 7: "Early Swedish and Icelandic Adaptations of Dracula"]}}

The first film to feature Count Dracula was a Hungarian silent film—[[Károly Lajthay]]'s ''[[Drakula halála]]'' ({{translation|The Death of Dracula}}). The film allegedly premiered in 1921 but this release date has been questioned by some scholars.{{Sfn|Rhodes|2010|p=29}} Very little of the film survives, and David J. Skal notes that the cover artist for the 1926 Hungarian edition of the novel was more influenced by the second adaptation of ''Dracula'', [[F. W. Murnau]]'s ''[[Nosferatu]]'' (1922).{{Sfn|Skal|2011|p=11}} Critic Wayne E. Hensley writes that the narrative of ''Nosferatu'' differs significantly from the novel, but that characters have clear counterparts.{{sfn|Hensley|2002|p=61}} Bram Stoker's widow, [[Florence Stoker|Florence]], initiated legal action against Prana, the studio behind ''Nosferatu''.{{Sfn|Miller|2005a|pp=26, 124–125}} The legal case lasted two or three years,{{Efn|Some sources say the legal battle lasted only two,{{Sfn|Skal|2011|p=11}} while others give the number as three.{{Sfn|Stoker|2011|p=2}}{{Sfn|Hensley|2002|p=63}}}} with Prana agreeing to destroy all copies in May 1924.{{Sfn|Hensley|2002|p=63}}{{Efn|Some sources say that "all prints were ordered destroyed".{{Sfn|Stoker|2011|p=2}}}}

[[File:Dracula 1958 c.jpg|thumb|alt= Man with bloodshot eyes and a wide-mouthed and bloody smile, showing exposed fangs |[[Christopher Lee]] as the title character in ''[[Dracula (1958 film)|Dracula]]'' (1958)]]
Visual representations of the Count have changed significantly over time. Early treatments of Dracula's appearance were established by theatrical productions in London and New York. Later prominent portrayals of the character by [[Béla Lugosi]] (in [[Dracula (1931 English-language film)|a 1931 adaptation]]) and [[Christopher Lee]] (firstly in [[Dracula (1958 film)|the 1958 film]] and later its sequels) built upon earlier versions. Chiefly, Dracula's early visual style involved a black-red colour scheme and slicked back hair.{{Sfn|Browning|Picart|2011|p=4}} Lee's portrayal was overtly sexual, and also popularised fangs on screen.{{sfnm|1a1=Cengel|1y=2020|2a1=''The Telegraph''|2y=2015}} [[Gary Oldman]]'s portrayal in ''[[Bram Stoker's Dracula (1992 film)|Bram Stoker's Dracula]]'' (1992), directed by [[Francis Ford Coppola]] and costumed by [[Eiko Ishioka]],{{Sfn|Sommerlad|2017}} established a new default look for the character—a Romanian accent and long hair.{{Sfn|Browning|Picart|2011|p=4}} The assortment of adaptations feature many different dispositions and characteristics of the Count.{{Sfn|Clasen|2012|p=378}}

===Influence===
[[File:Graffiti Dracula Palma 2019-10-30.jpg|thumb |alt=Graffiti image of Dracula, with large fangs, spray-painted onto a shutter |2019 graffiti of Dracula, the [[Archetype|archetypal]] vampire]]
''Dracula'' is one of the most famous and influential works of [[English literature]].{{Sfn|Skal|2016|pp=499–500}} Although not the first novel to depict vampires,{{Sfn|Miller|2001|p=147}} the work dominates both popular and scholarly treatments of [[Vampire literature|vampire fiction]].{{Sfn|Davison|1997|p=21}} For many people, Count Dracula is the first character to come to mind when discussing vampires.{{Sfn|Beresford|2008|p=139}} ''Dracula'' succeeded by drawing together folklore, legend, vampire fiction and the conventions of the Gothic novel.{{Sfn|Miller|2001|p=147}} Humanities scholar [[Wendy Doniger]] described the novel as vampire literature's "centrepiece, rendering all other vampires BS [Before Stoker] or AS [After Stoker]".{{Sfn|Doniger|1995|p=608}} William Hughes argues that the Count's cultural omnipresence negatively impacted academic analyses of the undead; Dracula is "<em>the</em> reference point" to which all other vampires are compared.{{Sfn|Hughes|2012|p=198}}

It profoundly shaped the popular understanding of how vampires function, including their strengths, weaknesses, and other characteristics.{{Sfn|Miller|2001|p=152}} Bats had been associated with vampires before ''Dracula'' as a result of the [[vampire bat]]'s existence—for example, ''[[Varney the Vampire]]'' (1847) included an image of a bat on its cover illustration—but Stoker deepened the association by making Dracula able to transform into one. That was, in turn, quickly taken up by film studios looking for opportunities to use [[special effect]]s.{{Sfn|Miller|2001|p=157}} Novelist [[Patrick McGrath (novelist)|Patrick McGrath]] notes that many of the Count's characteristics have been adopted by artists succeeding Stoker in depicting vampires, turning those fixtures into clichés. Aside from the Count's ability to transform, McGrath specifically highlights his hatred of garlic and crucifixes.{{Sfn|McGrath|1997|p=45}} William Hughes writes critically of the Count's cultural omnipresence, noting that the character of Dracula has "seriously inhibited" discussions of the undead in Gothic fiction.{{Sfn|Hughes|2012|p=197}}

In the 1930s, [[Universal Studios, Inc.|Universal Studios]] initiated development on a ''Dracula'' film and learned Stoker failed to comply with United States copyright law. This prematurely placed the novel into the [[public domain in the United States]].{{Sfn|Stoker|Holt|2009|pp=312–313}}{{Efn|Stoker was required to purchase the copyright and register two copies, but only registered one.{{Sfn|Belford|2002|p=272}}}} It was not until the 1960s that publishers recognised the novel's copyright status. Coinciding with the [[Paperback|mass-market paperback]]'s rising popularity, publishers began to produce their own versions.{{Sfn|Eighteen-Bisang|Melton|2011|pp=269–270}} Stoker's mistake prevented his descendants from collecting royalties but provided ideal conditions for the novel to endure because writers and producers did not need to pay a licence fee to use the character of Count Dracula.{{Sfn|Browning|Picart|2011|p=3}}