Abstract
The author focuses on the opposition between the Stoker´s novel and the film adaptations.While in Stoker´s work modernity strongly and self-confidently progresses, overcoming the vampire through modern technology and communication, the examined adaptations (Murnau, Herzog) identify with the program of aesthetic modernity articulated in opposition to the single-sided rationalist-technological modernity.The another themes deal with the vampire as the central trope of the Western approach to death, with vampire as a self-reflexive allegorical figure of film and a metaphor of intertextuality.