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Vampires are much more complex creatures than Buffy The Vampire Slayer, Twilight, True Blood, or scores of other movies and television shows would have you believe. Even in America. American vampire lore has its roots in the beliefs and fears of the diverse peoples and nationalities that make up our country, and reflects the rich tapestry of their varied perspectives. The vampires that lurk in the American darkness come in a variety of shapes and sizes and can produce some surprising results. Vampires in North Carolina are vastly different from those in South Carolina, and even more different from those in New York State. Moreover, not all of them are human in form, and they can’t necessarily be warded off by the sight of a crucifix or a bulb of garlic. Dr. Bob Curran visits the Louisiana bayous, the back streets of New York City, the hills of Tennessee, the Sierras of California, the deserts of Arizona, and many more locations in a bid to track down the vampire creatures that lurk there. Join him if you dare! This is not Hollywood’s version of the vampire—these entities are real!
He's the good kind of vampire. Sort of. Buried in the Heartland is a town that no one enters or leaves. Graf McDonald was the first visitor in more than five years...and he was only looking for a party! Unfortunately, Penance, Ohio, is not that place. After having been isolated for so long, its inhabitants don't take kindly to strangers. Jessa is the only one who trusts Graf, and she's desperate for the kind of protection that only a vampire like him can provide. Supplies are low, the locals are stirring for a sacrifice and there's a monster lurking in the woods. New men are hard to come by in the lonesome town, and this handsome stranger might be Jessa's only help for salvation. Even if she has to die first
Presents a history of vampire lore in America and focuses on its popular culture impact in print and film.
Most people today see vampires as entertaining supernatural creatures popularized by the many book, television, and movie series that abound in popular fiction, but where do these stories originate? Many cultures around the world have tales of undead blood-sucking creatures. Exploring these supernatural beings within the context of American historical accounts and legends will enable students to understand the relationship between the time in which such stories were believed and the actual events that inspired them. Accompanied by full-color images and sidebars with fascinating details, this volume will capture the interest of any student intrigued by vampire stories.
This volume follows two stories: one written by Scott Snyder and one written by legendary horror writer Stephen King. In Snyder’s story set in 1920s LA, we follow Pearl, a young woman who is turned into a vampire and sets out on a path of righteous revenge against the European vampires who tortured and abused her. This story is paired with King’s story, a Western about Skinner Sweet, the original American vampire-a stronger, faster creature than any vampire has ever seen before.
Perhaps more than any region, the American South is haunted by the mythology of the vampire, returned from the dead to drain life from the living.
"D.B Reynolds has delivered a master class in what paranormal romance is meant to be." - KT Book Reviews on LUCIFER The perfect gift for those vampire lovers who just can't get enough! RT and EPIC award-winning author D. B. Reynolds brings to print the stories her readers have been waiting for. Ten Vampire Vignettes, including five brand new stories and five reader favorites from her blog, all in print for the first time. They range from the wild and dusty streets of post-Gold Rush San Francisco, to the vicious halls of the U.S. Capitol today, and every place along the way. These are the stories in between the books, the slices of life that happen as the vampires of North America defend their lives, uncover secrets, and sometimes, simply take a moment to romance the women they love. As always, be forewarned, there is sex in these stories. But Reynolds's readers wouldn't have it any other way! D. B. Reynolds is the RT and EPIC Award-Winning author of the Vampires in America series of paranormal romance, and an Emmy-nominated television sound editor. She lives in a flammable canyon near Los Angeles, and when she's not writing her own books, she can usually be found reading someone else's. Visit her blog at www.dbreynolds.com for details on all of her books and more.
In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.
The figure of the vampire serves as both object and mode of analysis for more than a century of Hollywood filmmaking. Never dying, shifting shape and moving at unnatural speed, as the vampire renews itself by drinking victims' blood, so too does Hollywood renew itself by consuming foreign styles and talent, moving to overseas locations, and proliferating in new guises. In Vampires, Race, and Transnational Hollywoods, Dale Hudson explores the movement of transnational Hollywood's vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa. As the vampire's popularity has swelled, vampire film and television has engaged with changing discourses around race and identity not always addressed in realist modes. Here, teen vampires comfort misunderstood youth, chador-wearing skateboarder vampires promote transnational feminism, African American and Mexican American vampires recover their repressed histories. 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 and tradition as fundamentally transnational, offering fresh interpretations of vampire media as trans-genre sites for political contestation.