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.
The insights of Gilles Deleuze‘s film-philosophy offers a distinctive theoretical approach to Gothics remarkable affects and temporal effects. Introducing key critical tools, I apply them to Neil Jordan‘s Interview with the Vampire (1994), as well as asserting the broader relevance of Deleuze to Gothic studies.
a shriek, Varney took one tremendous leap, and disappeared into the burning mouth of the mountain. 1
James Malcolm Rymer, Varney the Vampire; or, The Feast of Blood
So ends the inglorious career of terror practised for over two centuries by the antagonist of James Malcolm Rymer’s sprawling 666,000-word penny dreadful, Varney the Vampire; or, The Feast of Blood , published serially from 1845–47. And while Bram Stoker’s Dracula , published fifty years later, is generally considered to
Gothic fictions have, from their beginning, been fabrications. Shaped by their time, Anne Rice‘s vampire novels – Interview With The Vampire and The Vampire Lestat – participate in a logic of simulation: the former offers a nostalgic pastiche of Romantic and Baudelairean modernity; the latter an overblown reanimation of pagan and ancient mythologies. For all their nostalgia and recyclings, these postmodern romances remain tied to contemporary ahistorical and reversible axes of consumption and exhaustion, fatally in-human desiring and technological novelties, flaccid fantasies and tired trangressions.
Folklore and fiction – writing My Swordhand Is Singing
Ever Since I Became a published
author, in 2000, it was my strong ambition to write a vampire novel.
Why? Well, simply, I thought it would be enormously good fun to do so. I
grew up as a fan of vampire cinema and fiction. One summer in the early
1980s the BBC screened a series of classic horror double bills every
Saturday night, beginning with Tod Browning’s 1931
This article discusses the manner in which the vampire fiction of contemporary
Ukrainian author Halyna Pahutiak enters into a dialogue with the global vampire
discourse whose core or ‘cultural capital’ finds its origins largely in Bram
Stoker’s novel Dracula (1897). Through discussion of thematic,
stylistic, and structural similarities and differences between Pahutiak and
Stoker’s portrayals of the vampire myth, my paper sheds light on the conscious
mythmaking strategies that Pahutiak employs to return the vampire symbolically
from the West to Eastern Europe where it originated, and reassess the core
characteristics of the Dracula myth.
The economics of salvation in Dracula and the Twilight Saga
Jennifer H Williams
The Problem of Vampires has always
been a peculiarly religious one. When Professor Van Helsing explains to
his ‘Crew of Light’ what is at stake in their quest to
destroy the vampire, Dracula, he casts it in religious terms:
My friends … it is a terrible task that
we undertake, and there may be consequence to make the brave
The female vampire: Chantal Chawaf ’s
Julia Kristeva opens her text, Soleil noir: dépression et mélancolie, with the
claim that ‘Ecrire sur la mélancolie n’aurait de sens, pour ceux que la
mélancolie ravage, que si l’écrit même venait de la mélancolie’ (‘For those
who are racked by melancholia, writing about it would have meaning only
if writing sprang out of that very melancholia’).1 This chapter explores the
possibility of writing ‘de la mélancolie’ through focusing on the work of
Chantal Chawaf, whose writing may be