No literary work is ever written without considering the context of the time period in which it was constructed. Bram Stoker's Dracula and Francis Coppola's film adaptation of the same text differ greatly in attitudes, values ​​and beliefs despite the film being based on the text. Furthermore, the added embellishments that undoubtedly make the film more enjoyable for the viewer, such as increased gore, drown out the symbols of values ​​and beliefs conveyed through the single text. For this reason, the transition of the medium and the change of context have greatly distorted the values ​​and meaning imbued in Dracula. From the analysis of the original text it is clear 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 highly frowned upon and there were only two polar opposite states of sexuality: that of the pure, chaste virgin and that of the slightly dirty wife and mother. If we consider the main female characters, the first discrepancy between the film and the book emerges. In the book it is quite clear that Dracula is attempting to transform the caste Lucy and Mina into their opposites – into Nosferatu, vampires and embodiments of the repressed sexuality that in many ways defines the original text. However, in the film Lucy is almost incredibly sexually aware, and is very frank with Quincey in particular before he is under Dracula's influence. The film shows blatant sexual imagery in which Lucy attempts to seduce Quincey, as evident in her evaluation 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... in the center of the card... ucy's personalities in the second excerpt scratch the surface of this particular value . What the film certainly does not lack is the discussion of class structure. Mina and Lucy mention ideas based on their class several times, which ties into the original text's discussion of social values ​​and class. Mina and Dracula are the first vampires in the series and both belong to the aristocracy. Perhaps this is a direct reference to an underlying view in both the director's and Stoker's minds that the aristocracy is actually a parasitic entity that "drinks the living blood of 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," may also be an indication that one political point has not changed over the centuries: religion it is the only control over life. aristocracy.