No literary work is ever written without taking into account the context of the period in which it was constructed. Bram Stoker's Dracula and Francis Coppola's film adaptation of the same text differ greatly in their attitudes, values ​​and beliefs, although the film is based on the text. Additionally, the additional embellishments that undoubtedly make the film more palatable to the viewer, such as increased gore, drown out the symbols of values ​​and beliefs conveyed through the individual text. For this reason, the transition of medium and the change of context have significantly distorted the values ​​and meaning imbued in Dracula. It is clear from the analysis of the original text that it is largely constructed within the framework of the patriarchal and repressed context of the 19th century. . In Victorian England, the expression of female sexuality was very frowned upon and there were only two opposing states of sexuality: that of the pure and chaste virgin and that of the somewhat defiled wife and mother. When considering the main female characters, the first divergence between the film and the book appears. In the book, it is quite obvious that Dracula is attempting to transform the chaste Lucy and Mina into their opposites – into Nosferatu, into vampires, and into embodiments of the repressed sexuality that in many ways defined the original text. However, in the film Lucy is almost shockingly sexual and is very direct with Quincey in particular before she comes under Dracula's influence. Blatant sexual imagery is shown in the film where Lucy attempts to seduce Quincey, as evidenced by her assessment of his dagger. As she moans in a sensual tone, "Oh please let me touch it, it's so big" referring to the phallic symbol of her dagger, we...... middle of paper ...... the personalities of ucy in the second extract scratches the surface of this particular value. What the film certainly doesn't lack is the talk about class structure. Mina and Lucy repeatedly bring up ideas based on their class, which ties in with the original text's discourse on social values ​​and class. Mina and Dracula are the first vampires in the series and both are members of the aristocracy. This is perhaps a direct reference to an underlying view, both in the director's mind and in Stoker's mind, that the aristocracy is in fact a parasitic entity that "drinks blood living off others to become strong.” The fact that religion is a vampire's only weakness, a point echoed in both the book and the play in Lucy's "purification", could also be an indication that a political point has not changed through the ages: religion is the only control over the vampire. aristocracy.