Related Papers
Vampires in the Sunburnt Country: Adapting Vampire Gothic to the Australian landscape
2007 •
Jason Nahrung
I first became enamoured with vampire Gothic after reading Bram Stoker’s Dracula in high school, but gradually became dissatisfied with the Australian adaptations of the sub-genre. In looking for examples of Australian vampire Gothic, a survey of more than 50 short stories, 23 novels and five movies made by Australians reveals fewer than half were set in an identifiably Australian setting. Even fewer make use of three key, landscape-related tropes of vampire Gothic – darkness, earth and ruins. Why are so few Australian vampire stories set in Australia? In what ways can the metaphorical elements of vampire Gothic be applied to the Sunburnt Country? This paper seeks to answer these questions by examining examples of Australian vampire narratives, including film. Particular attention is given to Mudrooroo’s Master of the Ghost Dreaming series which, more than any other Australian novel, succeeds in manipulating and subverting the tropes of vampire Gothic. The process of adaptation of vampire Gothic to the Australian environment, both natural and man-made, is also a core concern of my own novel, Vampires’ Bane, which uses earth, darkness and a modern permutation of ruins to explore its metaphorical intentions. Through examining previous works and through my own creative process, Vampires’ Bane, I argue that Australia’s growing urbanisation can be juxtaposed against the vampire-hostile natural environment to enhance the tropes of vampire Gothic, and make Australia a suitable home for narratives that explore the ongoing evolution of Count Dracula and his many-faceted descendants.
Gothic Studies
Postmodern Vampires: Film, Fiction, and Popular Culture. By Sorcha Ní Fhlainn
2021 •
Sorcha Ní Fhlainn
Postmodern Vampires
2019 •
Sorcha Ní Fhlainn
Manchester Metropolitan University United Kingdom A Very Special Vampire Episode : Vampires , archetypes , and postmodern turns in late-1980 s and ‘ 90 s cult TV shows
2017 •
Sorcha Ní Fhlainn
This article evaluates the importance of the TV vampire onscreen in science fiction, gothic, and horror-based cult TV series from the late 1980s to the late 1990s. The inclusion of the vampire as a peripheral character in series including Quantum Leap, The X-Files, Tales from the Crypt and Friday the 13: The Series indicates, in light of postmodern cultural turns, that there exists an imperative to re-evaluate, satirize and reflexively explore the vampire as a necessary and evolving stock gothic character within the narrative and generic frameworks of each show. In looking at these postmodern vampiric evaluations in their own right, where the vampire is featured as the ‘monster of the week’, this article argues that these understudied yet apposite representations of the television vampire, prior to and following on from the success of Coppola’s Bram Stoker’s Dracula (1992), documents a distinct cultural shift and maturation in representing vampires in non-vampire based gothic televi...
Postmodern Vampires
Gothic Double Vision at the Fin-de-Millennium
2019 •
Sorcha Ní Fhlainn
Postmodern Vampires: Film, Fiction, and Popular Culture
2019 •
Sorcha Ní Fhlainn
Horror Studies
A very special vampire episode: Vampires, archetypes and postmodern turns in late 1980s’ and 1990s’ cult TV shows
2017 •
Sorcha Ní Fhlainn
American Quarterly 65.3
“Of Course There Are Werewolves and Vampires”: True Blood and the Right to Rights for Other Species
2013 •
Dale Hudson
Often dismissed as superficial, vampire films and television series have been a dominant mode by which Hollywood has negotiated the ever-shifting contours of social difference in the United States since the 1920s and 1930s. Remarkably, critical analysis has paid little attention to the interconnections between racism, sexism, and speciesism—and almost no attention to ways that difference affects nonhuman animals. Drawing on work in animal studies and the posthumanities, this article explores the extent to which HBO’s True Blood (2008–present) can contribute to the ongoing process of decolonizing thinking from the everyday habits defined by anthropocentrism. By featuring supernatural species, it questions unwitting complicity with forms of cinematic and televisual realism in reifying political realism. The series is premised on the political organization of vampires who advocate for the right to the right of citizenship, exploring ongoing asymmetries in social and political power through resurrected Confederate soldiers, ghosts of murdered women and children, and terrorism in the form of rebel vampire groups exploding the factories where synthetic blood is manufactured and multiracial hate-groups of male and female humans wearing rubber “Barack Obama” masks and murdering shapeshifters. If the animal turn follows the postcolonial turn, then this article asks whether True Blood might suggest ways for humans to live ethically with other species and to think interspecies relations in ways that consider what interspecies ethics might also mean to humans still defined in terms of race, sex, nativity, and religion.
REDEN
Vampire and Monster Narratives: An Interview with Sorcha Ní Fhlainn
2022 •
Sorcha Ní Fhlainn
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Urban Vampires in American Films of the Eighties and Nineties
2003 •
Stacey Abbott
