I hadn't realized that Hammer's interpretation of Dracula was the first version of the story to reach Japan until just a few days ago, getting there before the novel, the stage play, the Browning/Lugosi film, or any of the Nosferatus
This means, among other things, that the whole idea of the western vampire was introduced to Japan in the context of the vampire being hunted
While the religious connotations of hinting vampires was always a part of gothic vampire literature as early as Carmilla, in Hammer Dracula it's always even more visually pronounced or a major visual than in the novel, such as Dracula visualizing a cathedral before his death, Dracula being entangled by a Hawthorn bush, a monsignor reciting the Lord's Prayer as Dracula is defeated. I have to think this influenced the idea of the Belmonts having holy attributes.
I also wonder if this visual from the end of the very first Dracula, in which Van Helsing uses a pair of large candle holders as a cross, inspired the concept of Belmont using a massive arm length spinning metal cross as a weapon (attached image)
In the overall Hammer Dracula series, every film to return Sir Christopher Lee to the role of Count Dracula sees him resurrected from his death in the prior film, where his ashes are always mixed with blood. Castlevania uses a resurrection plotline for Dracula as early as Simon's Quest, where Simon collects Dracula's remains after killing him in the first game (Symphony of the Night also thematically calls back to this).
Even more directly, in Rondo of Blood, Dracula is resurrected by a secret society of men lead by Shaft, who sacrifice a young woman in a satanic ritual. In both Taste the Blood of Dracula and Dracula 1972 A.D., Dracula is resurrected in a black mass involving blood in the former film done by a secret society of English gentlemen, and the latter, a young woman is killed by Dracula as soon as he emerges.