Humanity has been romanticizing gore and violence for years, some in more symbolic meanings of the word romanticization, and some in literal ways, with examples of cannibalism being used as a metaphor for love. There seems to be this idea floating about that vampires have only started being framed as attractive, mysterious, and romantic since the creation of the ‘Twilight’ series in 2008, but it can easily be traced back centuries earlier to the very start of the vampire genre as a whole. It all goes back to Dracula, written by Bram Stoker. His horror novel permanently altered the way pop culture viewed vampires, brought them so the mainstream, and shaped what they exist as today. There is prominent speculation about Stoker having been a closeted homosexual, and it is believed that he had a secret relationship with Oscar Wilde. This most likely influenced he events of Dracula, reflecting the fear and the isolation Bram Stoker went through while in the closet.

Dracula is swimming with queer themes, most prominent in the character of John Harker. When most vampires are portrayed biting the neck of an innocent woman, Dracula does quite the opposite, with Johnathan taking the role of the damsel in distress. This has spilled over into other iconic vampire films like The Lost Boys (directed by a gay man, Joel Schumacher) and Interview With The Vampire.
In order to dig deeper into the reason as to why so many vampire films end up queercoded, we need to go further than the simple idea of ‘vampires are gay because they bite both women and men’. Queercoding in horror films, whether intentional or not, can be traced back to the Hays Code. This code had an impact on the horror genre as a whole, and collectively made them gayer. The Hays Code was a set of guidelines and rules set in order to make the film industry less ‘degenerate’. It was decency guide, and prohibited subjects like homosexuality, interracial couples, crime, etc. from being portrayed in film unless they were explicitly shown to the audience to not yeild any positive outcomes. This would lead to queer filmmakers queercoding villainous characters, and heavily influenced the horror genre. It’s definitely a contributing reason as to why so many of the golden age Disney villains were queercoded (made to be more effeminate, makeup wearing, drag-esque), and it has also influenced horror films and made them considerably gayer.

Although it was not required by law to get the Hays Code stamp of approval, it often would not be profitable to make a film without it. It would also be much more difficult to advertise if the stamp was not there, and many theatres would refuse to show a film without Hays Code approval. The horror genre was a good outlet through which to create queer characters, since it could easily villainize them or kill them off at the end as a way to sidestep the code. The Hays Code was the main originator of the ‘bury your gays’ trope.
Horror became queer as a result of the demonization of gay people and the Hays Code prohibiting ‘instances of sex perversion’, which included queerness. It’s the reason why so many villainous characters are depicted as effeminate or having of queer traits. Horror films and the history of horror can often tell us what the people of that era were scared of during the time they were made, and the era of the Hays Code clearly shows us that the public was scared of queerness. This has carried over into the more recent vampire/horror films I mentioned earlier.
Some examples of horror films that ended up queercoded during this era include: Dracula’s Daughter (another vampire movie), The Haunting, Frankenstein’s Monster, and Bride of Frankenstein.
Horror films post-Hays-Code that carried on this trend of queercoding horror characters include: Reanimator, Hellraiser, Saw, Jennifer’s Body, Nightmare on Elm Street 2, and yet again, Joel Schumacher’s The Lost Boys. That movie is so gay I could make a whole second essay on just that.
But, this is an essay on vampires, not the horror genre as a whole. Obviously, the vampire genre is a subgenre of horror, but we need some more specific examples. Why exactly, are vampires specifically, so damn gay?
The answer, in short, is plausible deniability. From the start, vampires have been gay, because when you’re dealing with a vampire and you don’t state it explicitly it’s very easy to cover up the queer subtext in your films or stories. Of course that monster isn’t trying to kiss you, he wants to tear you apart! He views you as nothing more than cattle, or even a sandwich. There is nothing sexy about that scene where he’s murdering a guy before our very eyes…until there is something sexy about it. Until we come back to the idea of humanity romanticizing these metaphors of cannibalism, gore, and blood, consumption of a lover. Until we realize just how sensual and homoerotic the act of a bite, or even the act of turning someone into a vampire, can be. This handsome guy wants to share his youth with you eternally, but oh, no, Mr. Studio-Executive, of course it’s not gay! It’s merely parental, or it’s a brotherhood, or it’s a transaction. Nothing more.
Plausible deniability is what allowed vampires to become so queer. Even way back before the era of the Hays code, it was acknowledged that a vampire’s bite was too sensual or too erotic to show on screen. Didn’t matter if it was opposite or same sex. Now, if we take that idea, and understand that a vampire would obviously be biting both male and female victims, we can understand what makes vampires so inherently gay.
Thank you, and good night.