Grant is troubled Dr Seward, tending both to Mina and her super-sexy best friend Lucy (Sadie Frost) who is to embrace Dracula. Reeves plays Jonathan with that innocent, faintly torpid calm which audiences would come to know and love for the next three decades. Hopkins is Professor Van Helsing, who is to school his young friends in the ways of vampire-killing: Hopkins has great fun with the black comic craziness of the role. And it’s also notable for having a cast of male actors who could each quite plausibly play Dracula: Anthony Hopkins, Richard E Grant, Keanu Reeves, and Cary Elwes. This Dracula isn’t from Coppola’s great 70s/80s period, but it has a melodramatic and operatic energy and draws on the look and feel of Hollywood’s pre-Code salaciousness and the silent movie madness of Nosferatu – though the expressionist shadows are blood-red, not black. Dressed like the Pierrot from hell in his vast Transylvanian castle, Dracula then buys property in Victorian London, and appears there in the style of a sinister young dandy, on the scent of a woman who looks exactly like his late wife: the winsome Mina (Ryder again), fiancee to the equally demure young lawyer who journeyed to Romania to draw up Dracula’s contracts: Jonathan, played by Keanu Reeves. The American Archivist has the largest circulation of any English-language archives journal.F rancis Ford Coppola’s vampire tale is now revived in cinemas for its 30th anniversary, with Gary Oldman the fierce and anguished count who hundreds of years ago renounced God and embraced an eternity of parasitic horror in his rage at the unjust death of his countess (played by Winona Ryder). The journal also reviews books and other archival literature, web resources, and archival tools and products. Peer-reviewed research articles, case studies, in-depth perspectives, and international scene papers address a wide variety of topics, such as digitization and digital preservation, electronic records, selection and appraisal, description and cataloging, reference and public services, preservation, records management, photographs and visual arts, disaster and contingency planning, copyright, intellectual property, legal issues, and authenticity. The relationships between archivists and the creators and users of archives andĬultural, social, legal, and technological developments that affect the nature of recorded information and the need to create and maintain it.
Theoretical and practical developments in the archival profession, in the United States and abroad It presents current research and thought about Published since 1938, the American Archivist provides a forum for discussion of trends and issues in archival theory and practice.
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