This introductory volume offers an elegant analysis of the enduring appeal of the cinematic vampire. From Georges M�li�s' early cinematic experiments to Twilight and Let the Right One In, the history of vampires in cinema can be organized by a handful of governing principles that help make sense of this movie monster's remarkable fecundity. Among these principles are that the cinematic vampire is invariably about sex and the vexed human relationship with technology, and that the vampire is always an overdetermined body condensing what a culture considers other. This volume includes in-depth studies of films including Powell's A Fool There Was, Franco's Vampyros Lesbos, Cronenberg's Rabid, K�mel's Daughters of Darkness, and Merhige's Shadow of the Vampire.
An illustrated history and examination of vampires in cinema.
Appendices include a complete filmography of the films examined. Instructors considering this book for use in a course may request an examination copy here.
Looking at contemporary hits like True Blood, Twilight, Underworld and The Strain, classics such as Universal's Dracula and Dracula, and miscegenation melodramas like The Cheat and The Sheik, the book reconfigures Hollywood historiography ...
No other book captures the true essence of the vampire movie as well as this book. Marrero reviews hundreds of vampire films from Nosferator (1922) to Bram Stoker's Dracula (1992)....
This decision is challenged by the evil Willis (Richard Lawson). To get revenge on Lisa, he performs a voodoo ceremony which resurrects Mamuwalde (aka Blacula). The vampire immediately bites Willis and makes him his acolyte.
The Vampire Film
We know that he was buried in unhallowed ground. For all of his kind must rest in the unhallowed ground that nurses them. For one to buried, they must have blood on their hands. It doesn't matter if it was someone else's or their own.
These are examined across a range of contexts, from the Swedish vampire to the Afro-American Blacula, from the lesbian vampire to the gay zombie, from the Spanish Knights Templar riding skeletal horses to dancing Japanese zombies.
These essays also look at vampire films through lenses of gender, post-colonialism, camp, and otherness as well as the evolution of the vampiric character in cinema worldwide, together constituting a mosaic of the cinematic undead.
Hypnotic, shocking, and chillingly sensual, this is a novel of mesmerizing beauty and astonishing force—a story of danger and flight, of love and loss, of suspense and resolution, and of the extraordinary power of the senses.