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.
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About the Author
Table of ContentsAcknowledgements.- 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.