![]() That unfortunately backfired, as reviewers are currently critiquing The Invitation because there is already a well-reviewed 2015 horror film with the same name, directed by Karyn Kiyoko Kusama. Rumour is, the film’s title was changed to The Invitation after an early test screening, where some male reviewers argued that The Bride wasn’t a strong enough title, causing the studio to worry that the title would put-off male viewers in broader distribution. So, if being The Bride is central to the film’s commentary, why change its title? “I want someone to see me for who I truly am.” The term gets weighed with all kinds of symbolic and political implications, something The Invitation explores at length. I’ve highlighted this dismissal in a previous article, where I discussed how vampire media manages its powerful women, even in the very language used to describe them, especially the term Bride. ![]() It doesn’t matter who the woman was prior to becoming a vampire, as they all transition into these interchangeable femme fatale types, interchangeable even within their narratives, as Dracula is typically shown in the process of replacing dead wives. Creepy as that is, it’s perhaps more disturbing that these women are typically given the exact same characteristics, regardless of decade or name. Often, male vampires are a descendant of Dracula, whereas female vampires are married to him. Even vampire women in non-Dracula projects are routinely referred to as a Bride of Dracula. Dracula’s Brides, in particular, have a long-standing tradition in vampire media. The Invitation was originally titled The Bride, reminiscent of Dracula and Frankenstein’s Brides. Or why The Invitation’s unwarranted poor reviews reflect a history of dismissal.
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