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Genre, Authorship, and Quality in Teen TV horror
Rebecca Williams

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.

Gothic Studies
Post-9/11 Horror and the Gothic Clash of Civilisations
Kevin J. Wetmore

Twentieth century cinema involving monster conflict featured solitary monsters in combat (Frankenstein Meets the Wolf Man, for example). The writing of Anne Rice and the RPG Vampire: The Masquerade by White Wolf Games introduced the idea of Gothic communities and civilisations in conflict. It was not until after the terror attacks of 11 September that the idea of a clash of civilisations between supernatural societies fully emerged into the mainstream of popular culture. This essay explores the construction of a clash of civilisations between supernatural communities as a form of using the Gothic as a metaphor for contemporary terrorism in film and television series such as Underworld, Twilight, True Blood and The Vampire Diaries. Inevitably, it is the lycanthropes that are the disempowered and disenfranchised society and are alternately exploited by and rebel against the dominant vampire civilisation grown decadent and on the verge of collapse. Post-9/11 Gothic posits a world in which vampire society is the new normal, and werewolves represent a hidden danger within. Lycanthropes must be controlled, profiled and/or fought and defeated. Through close readings of the cinematic and televisual texts, I explore the vampire/werewolf clash as metaphor and metonym for the war on terror.

Gothic Studies
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Doppelgängers and doubling in The Vampire Diaries
Kimberley McMahon-Coleman

teen drama The Vampire Diaries . The television series is itself a ‘doubling’ in that it is an adaptation of a series of novels by L. J. Smith, creating a situation wherein the same central characters inhabit the parallel townships of the novels’ Fells Church and television’s Mystic Falls, and consequently have histories which are, at times, contradictory. 2 The television version also explicitly

in Open Graves, Open Minds
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Sam George and Bill Hughes

, edited by John Gordon and Veronica Hollinger ( 1997 ) and Draculas, Vampires and Other Undead Forms , edited by John Edgar Browning and Caroline Joan Picart (2009). The first of these has some excellent essays but was published too early to offer analyses of recent texts such as Twilight , True Blood , The Vampire Diaries , and My Swordhand Is Singing . The second of these is a recent text which, while offering a useful

in Open Graves, Open Minds
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Neoliberal gothic
Linnie Blake and Agnieszka Soltysik Monnet

. 9 Examples of gothic-clad conservativism are numerous. We would point, in particular, to the gender politics of television programmes such as The Vampire Diaries ( 2009 –) and the heteronormativity of novels such as Warm Bodies (Marion, 2010 ). Both adopt the mise-en-scène , plot and character types of the gothic, but eschew its capacity for social engagement and

in Neoliberal Gothic
Catherine Spooner

Twilight and The Vampire Diaries ( 2009 –); 1 on artificial blood substitutes, as in Charlaine Harris’s Southern Vampire Mysteries (2001–) and their televisual adaptation True Blood ( 2009 –); or simply by going ‘cold turkey’ and not drinking at all, as in the BBC TV series Being Human ( 2009 –). While scintillating skin may be unique to Meyer’s vampires – her

in Open Graves, Open Minds
HBO’s True Blood
Michelle J Smith

Vampire Diaries , the Southern setting can also heighten the sense of belonging and ‘home’ for former vampire ‘citizens of the world’ (see Chapter 13 below). Gothic fictions have typically evoked fear about the collapse of boundaries between self and other, human and animal, and life and death. The vampire, in particular, has been read as trading on an anxiety of conversion

in Open Graves, Open Minds
Essence, difference and assimilation in Daniel Waters’s Generation Dead
Bill Hughes

the dead Karen: ‘She’s crazy. It’s like dying has given her a license to act how she pleases, to do whatever she wants. Death seems to have frightened some of the kids, but I think it’s freed her in some way’ (300). With Generation Dead , we are back on the same high school terrain that Buffy , and, more recently, L. J. Smith’s The Vampire Diaries and Meyer’s Twilight series

in Open Graves, Open Minds
Stoker, Coppola and the ‘new vampire’ film
Lindsey Scott

. As Catherine Spooner deftly illustrates in Chapter 9 below on representations of Goth subculture, a quick perusal of Gothic Charm School , it seems, can do wondrous things for a vampire’s social life. Given the huge commercial success of Meyer’s Twilight novels and their adaptations on film, not to mention popular series for television like True Blood and The Vampire Diaries , our critical

in Open Graves, Open Minds
Ben Jonson’s Masque of Queenes
Elisabeth Bronfen and Beate Neumeier

She’s a Whore at the expense of the religious and moral implications of the characters’ actions in Cheek by Jowl’s 2011–12 staging of the play. Posters of the television series True Blood and The Vampire Diaries were dead centre in the play’s modern décor. 2

in Gothic Renaissance