This chapter discusses how the contradictory field of forces set in motion by the unfolding economic crisis are articulated in the 2013 televised version of Dracula. Dracula provides a new outlet for the commodification of the vampire and the corporatisation of the gothic. The chapter argues that Dracula highlights not only the increasing humanisation of the vampire, but also a specifically post-recession, capitalism-weary environment caught between the need for simultaneous restoration of growth and austerity. The raunchy and explicit sex scenes in the Dracula bolster audiences' voyeuristic viewing pleasures. The scenes also reassert the vampire as an exceedingly erotic, insatiable creature whose bite will transform the victims into predatory but alluring vampires themselves. Adopting neoliberalism's entrepreneurial ethos of self-responsibility, self-care and determination, Dracula resolves to become the master of his own fate and engage in what Anthony Giddens calls the reflexive 'project of the self '.
In this introduction, we consider the intersection of two much debated and controversial concepts: postfeminism and Gothic, and we designate a new analytical category of ‘Postfeminist Gothic’. We suggest that postfeminism and Gothic are linked by their eschewal of a binary logic and their ‘anxiety about meaning’. As we contend, ‘Postfeminist Gothic’ moves beyond the Female Gothic with its historical associations with second wave feminism and female/feminine victimisation and it circumscribes a new space for critical exchange that re-examines notions of gender, agency and oppression.