The seductive-woman archetype persists as a cultural figure of danger.

Evidence

American detective novels—or American-style ones—are a striking example. Peter Cheyney’s heroes, for instance, are always grappling with an extremely dangerous woman, unmanageable for anyone but them: after a duel that unfolds all through the novel, she is finally overcome by Campion or Callaghan and falls into his arms. — Simone de Beauvoir, The Second Sex, 448 (#expands, via linked claim)

Several scenes in the film depict sexual acts between humans and monsters. The first of these is the orgy at Dracula’s castle between Jonathon and a trio of female vampires, whom Coppola represents as a harem. The vampiresses perform oral sex on Jonathon; they are half-naked, dressed in belly-dancing costumes with head veils in the style of early Hollywood Arabian Nights films. — Sophia Rose Arjana, Muslims in the Western Imagination, 663 (#exemplifies, via linked claim)

Categorization

• XREF: connects to: Detective fiction reworks the myth of woman as dangerous Other to be conquered. — Simone de Beauvoir, The Second Sex, 448; Woman’s conflicting archetypes range from demon and predator to muse and goddess; Hollywood represents female monsters as Eastern harems to signal danger — Sophia Rose Arjana, Muslims in the Western Imagination, 663 (+2 more)

Broader Connections

• Detective fiction reworks the myth of woman as dangerous Other to be conquered. #expands (0.90) — Simone de Beauvoir, The Second Sex, 448
• Hollywood represents female monsters as Eastern harems to signal danger #exemplifies (0.85) — Sophia Rose Arjana, Muslims in the Western Imagination, 663
• Oriental female monsters gave Victorian anxieties about race and desire a place of expression #exemplifies (0.82)
• Female intactness is mythically imagined as a threatening mana that ruins male vigor #exemplifies (0.78) — Simone de Beauvoir, The Second Sex, 342
• Woman’s conflicting archetypes range from demon and predator to muse and goddess #expands (0.75)