Neoconservative Hunters and Terrorist Vampires in Joe Ahearne‘s Ultraviolet (1998)
A consideration of the ways in which the discourse of monstrosity, once deployed against a political enemy, closes off open debate and undermine the values of those who argue that the ends needed to defeat them justify any means used. This article explores the parallels between the neoconservative rhetoric of the War on Terror with that of the vampire hunters in Joe Ahearnes television show Ultraviolet (1998), as both deny their enemies the status of political subjects. It offers a reading of the show in light of Slavoj Žižeks call to evaluate the arguments of both sides in such moralised conflicts.
This article will analyse (the lack of) telepathic connection between the characters of Edward and Bella in Meyers Twilight Saga and compare it to the subliminal link between the Transylvanian vampire and Mina in Dracula. The lack of a telepathic bond between the two characters will be read as a contradiction of the original concept of telepathy. The Twilight Saga is interpreted as a postmodern representation of vampires which both reprises and subverts the precedent literary and cinematographic narratives of such,‘monsters’.
This article explores the trend in contemporary vampire media to highlight racially-charged issues, demonstrating a consciousness of the way the vampire has been used in conjunction with racial stigmatisation. While the traditional figure of the vampire spoke strongly to late nineteenth-,and early twentieth-century white American fears of miscegenation, I argue that some contemporary vampire narratives, such as Blade (1998), Underworld (2003), and True Blood (2008-), rewrite the figure in order to question and/or undo,the link between ‘monstrosity’ and racial otherness. Central to this task is not only the repositioning and characterisation of the vampire, but also — considering that the female body was once perceived as the locus for racial purity — that of the heroine.
The Vampire Diaries began life as a series of novels before being adapted into a television series screened on the CW channel in the US and ITV2 in the UK. This article explores how the show contributes to debates over genre and authorship within the context of the TV vampire via its status as a teen horror text. It also investigates how the show intersects with debates over quality television via the involvement of teen-TV auteur Kevin Williamson. In exploring genre and authorship, the article considers how The Vampire Diaries functions as a teen drama and a TV vampire/horror text.
Many vampires in popular fiction have developed a conscience that mitigates their monstrosity and makes them objects of human love and admiration. With the advent of the reformed vampire, Western culture has, perhaps, lost an icon of true horror. As the vampire has become increasingly humanized and sympathetic, the zombie has stepped up to take its place. Zombies remind us that we will soon be decomposing flesh; the zombie horde embodies fear of loss of self and individuality; zombies expose the dark side of mass consumer culture; and zombies highlight the fragility of human identity in an advanced, globalised society.
This article analyses the role of blood in the American series True Blood. It opens with a reassessment of sexual readings of vampires that complements previous work on their metaphorical significance for Queer Studies and focuses on the complex AIDS burger sequence,in Season One. The article then explores how artificial blood, ‘TruBlood’, may function as a radical attack on vampires which mirrors how commodity culture has adapted to suit the needs of marginal communities. Lastly, the article turns to non-genetic blood ties to show how ‘true’,blood (i.e. personal or individual) is the only substance that actually unites creatures in the series.
This article examines the effects of distracted sight, peripheral objects and hazily-perceived images in the ghost stories of M. R. James. It argues that the uncanny illumination produced by the accidental glance in his tales bears affinity with many Gothic narratives, including those of E. T. A. Hoffmann and Margaret Oliphant. James‘s work has often solicited only a casual look from critics, yet his exploration of the haunted edge of vision not only grants his work a hitherto neglected complexity, but also places him firmly within the Gothic tradition.
Sir Walter Scott and the Hudson River School of Painting
Kerry Dean Carso
This essay examines the influence of Sir Walter Scott‘s historical romances on the artists of the Hudson River School of American landscape painting. Scotts writings inspired paintings of medieval castles, fictional and actual, as well as scenery related to Scott‘s life and literary works. Many American artists visited these sites first-hand and painted or sketched them, providing a visual record of the tourist experience of Great Britain.That so many American artists engaged in painting castles suggests the paradoxical nature of American culture in the nineteenth century, when commentators clamored for a uniquely American culture, even while American authors and artists copied or borrowed from European culture. Castles function as perhaps the ultimate European signifier in otherwise generalized landscapes. This essay argues that those American artists who included castles in the landscape gave American culture a modicum of legitimacy in an era of rising American nationalism.