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21 Dec 2012
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£57.50
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9781844574414
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21 Dec 2012
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9781844574407
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DescriptionContentsAuthors

New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining.

Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer – films that seemed for a moment to take vampire cinema in completely opposite directions.

New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire, Vampire Hunter D: Bloodlust), South Korea (Thirst), New Zealand (Perfect Creature), Australia (Daybreakers), and elsewhere. In a series of exhilarating readings, Gelder determines what is at stake when the cinematic vampire and the modern world are made to encounter one another – where the new, the remake and the sequel find the vampire struggling to survive the past, the present and, in some cases, the distant future.


Description

New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining.

Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer – films that seemed for a moment to take vampire cinema in completely opposite directions.

New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire, Vampire Hunter D: Bloodlust), South Korea (Thirst), New Zealand (Perfect Creature), Australia (Daybreakers), and elsewhere. In a series of exhilarating readings, Gelder determines what is at stake when the cinematic vampire and the modern world are made to encounter one another – where the new, the remake and the sequel find the vampire struggling to survive the past, the present and, in some cases, the distant future.


Contents

Acknowledgements
Preface
Inauthentic Vampires
Bram Stoker's Dracula, Shadow of the Vampire, Buffy the Vampire Slayer, Interview with the Vampire, and Queen of the Damned
Our Vampires, Our Neighbours
Frostbitten, Let the Right One In, Let Me In, Night Watch, and Day Watch
Citational Vampires
Irma Vep, Vampire Hunter D: Blood Lust, Blood: The Last Vampire, and Thirst
Vampires in the Americas
Nadja, The Addiction, Habit, and Vampire in Brooklyn; Twilight, New Moon, and Eclipse; Cronos; the From Dusk Till Dawn trilogy and the John Carpenter's Vampires Trilogy
Diminishing Vampires
The Blade trilogy; the Underworld trilogy; Ultraviolet, The Breed, Perfect Creature and Daybreakers
Bibliography
Index


Authors

KEN GELDER is Professor of English in the School of Culture and Communication at the University of Melbourne, Australia. His books include Reading the Vampire (1994), the co-authored Uncanny Australia (1998), Popular Fiction: The Logics and Practices of a Literary Field (2004), and Subcultures: Cultural Histories and Social Practice (2007). He is editor of The Horror Reader (2000) and the second edition of The Subcultures Reader (2005).