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Kinga Földváry

all periods of film history, before the recent ‘zombie renaissance’ in the twenty-first century brought them into the mainstream of popular culture. 28 Yet, since the earliest days of horror cinema, there have been instances of cross-fertilisation between Shakespeare, the most canonical of authors, and horror, allegedly the most debased of all genres. Peter Hutchings, in his analysis of some of these meeting points, with reference to the 1931 Dracula (dir. Tod Browning) draws attention to the fact that ‘there might be a more complicated and context-specific set

in Cowboy Hamlets and zombie Romeos
A renaissance of vampires and zombies
Kinga Földváry

begin the discussion of undead Shakespeare figures with this group, particularly since the cinematic Shakespearean vampires appeared slightly earlier than their fellow zombies. Even though the short introduction to this chapter treated zombies and vampires as if they belonged to the same category (as so-called undead creatures populating subgenres of horror cinema), there are obvious differences between their symbolism and meaning, and equally in the target audiences drawn to their screen representations. The new millennium has seen a resurgence in the popularity of

in Cowboy Hamlets and zombie Romeos