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Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

, Murnau’s Nosferatu . The purview of Merhige’s film, however, is far more extensive, meditating on the 1979 remake of Nosferatu by Werner Herzog, the cinematic vampire more generally, the nature of cinematic subjects and spectatorship, our vexed cultural relationship both to modernity as emblematised by visual technologies and, by extension, to death, given

in The Gothic and death