I wrote this paper about the connections between Russia and Dracula a year ago and thought I would get it published. It was kind of just an interesting ‘spin off’ of my research on Nostradamus. Frankly, I am pretty sure it is hated by every reviewer who lays their hands on it. Maybe I shouldn’t try and submit it to left leaning journals any longer. No matter, now it is for the blog.
Since I have written this, I have made some advances in my theory and personal understanding of anti-Semitism and antifascism. You may find it somewhat ‘primitive’ compared to my more recent analyses. But the nuts and bolts hold true in my opinion.
Marxist Dracula meets Vlad the Impaler and the Propaganda Men:
Dracula as Strategic Communications about Russia
Vlad Tepes, also known as ‘Vlad the Impaler’ and ‘Dracula’ was a 15th century Wallachian warlord whose brutality was immortalized in the stories of contemporary European publicists. These stories were brought to Russia and became the basis for Russia’s first belletristic text: “The Tale of Dracula”. The 16th century Russian Tsar Ivan IV (a.k.a. ‘Ivan the Terrible’) was a critical figure in implementing a cohesive Russian mythology, and he was equated with many stories formerly related to Dracula. The first English-language book which combined the concept of vampires and the historical figure of Vlad Tepes was Karl Marx’ “Das Kapital”. There is evidence that Marx influenced Bram Stoker’s conception of Dracula as a character. In the 20th century, film-makers have developed the concept of Dracula in ways which may undermine Stoker’s arguably Russophobic and anti-Semitic context while also introducing 16th century Russian mythology and modern geopolitics to the vampire story.
Keywords: Dracula, Antisemitism, Islamophobia, Third Rome, Propaganda, Russian History
To me, given the Soviet infiltration of the peace movement, and his proximity to multiple “cells” of Russian spies (including peace movement figures), this is all pretty compelling evidence of Orson Welles being a Russian influence asset over time (less so for Cheetham to be honest). But maybe you have a different idea?
Noting a story about counterfeit Modigliani paintings in the news today, I recalled a bit of research I had done on the film F for Fake, which deals with forgery of Modigliani paintings as a superficial subject. It is time to blog it. In my ‘expert’ opinion, this film is a clever piece of Cold War-era, Russian-inspired, anti-fascist propaganda. Ultimately the film serves as a vehicle to launch ‘legal’ (and carefully worded) smears at the characters of Howard Hughes and the ‘art expert’ community at large. Perhaps I feel guilty to say it is a fantastic and entertaining art film. (See the below if you only watch a moment of it.)
Russia has definitely engaged in disinformation around earthquakes and tectonic weapons including repurposing arguments from the early 1990s and weaponizing them against America in 2010. In 1992 and 1993, amidst suspicion/rumors that Russia had deployed such a weapon in Armenia in 1988 – which had been fostered by a supposed Radio Liberty report and rumors which had circulated since Summer 1991, an official Russian military spokesperson said of such claims: “Therefore we are being accused of developing a barbaric weapon for use against peaceful inhabitants, thus driving a wedge between the civilian population and the military.” This is a clear allegation of Information Warfare.
Here’s a summary of a new research paper I am working on about the ‘mythical’ Orson Welles‘ “The War of the Worlds” Halloween broadcast of 1938 that I think a lot of people will find interesting. (Let me know if you have questions or would like a reference list.)
The book “The War of the Worlds” was published in late 1897 by H.G. Wells, a British author and political commentator. In the final months of World War I, H.G. Wells was was in charge of all British propaganda directed at Germany. Following the second World War (WWII), Sir William Stephenson, who headed up the British Security Coordination (BSC) which was a predecessor to the Office of Strategic Services (OSS), and who was also a real life model for Ian Fleming’s James Bond said of Wells:
“H. G. Wells became a good friend and adviser. The public knew him as a historian and prophet in fiction. Few knew about his passionate belief that in the science-fiction wars to come, our first line of defense would be information, rapidly conveyed.”