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Evil isn't simply an abstract theological or philosophical talking point. In our society, the idea of evil feeds entertainment, manifests in all sorts of media, and is a root concept in our collective psyche. This accessible and appealing book examines what evil means to us. Evil has been with us since the Garden of Eden, when Eve unleashed evil by biting the apple. Outside of theology, evil remains a highly relevant concept in contemporary times: evil villains in films and literature make these stories entertaining; our criminal justice system decides the fate of convicted criminals based on the determination of their status as "evil" or "insane." This book examines the many manifestations of "evil" in modern media, making it clear how this idea pervades nearly all aspects of life and helping us to reconsider some of the notions about evil that pop culture perpetuates and promotes. Covering screen media such as film, television, and video games; print media that include novels and poetry; visual media like art and comics; music; and political polemics, the essays in this book address an eclectic range of topics. The diverse authors include Americans who left the United States during the Vietnam War era, conservative Christian political pundits, rock musicians, classical linguists, Disney fans, scholars of American slavery, and experts on Holocaust literature and films. From portrayals of evil in the television shows The Wire and 24 to the violent lyrics of the rap duo Insane Clown Posse to the storylines of the Lord of the Rings and Harry Potter books, readers will find themselves rethinking what evil is—and how they came to hold their beliefs.
This collection of essays addresses the renewed interest in the cultural resurgence of the vampire, evident across a broad range of literature, film, television, graphic novels, and games. The appeal of vampire mythology and its associated folklore for modern audiences is examined in an age characterized by the transformative possibilities of the internet with both its low barriers to artistic expression and the erosion of the boundaries between author and audience in terms of the construction of narrative, character and fictional universes. This collection examines how audiences respond to and "use" the vampire in their own practices. From evil villains to tragic heroes, modern appropriations of the vampire, evident in popular manifestations such as the Twilight saga and the televisual adaptation of The Southern Vampire Mysteries (True Blood) are noted for their focus on the everyday. These vampires are found nested within communities, seeking to temper their urges and coexist with humans. "Drifting silently into harbour, the vampires arrived in Western Europe scarcely two centuries ago. Since then, they have become a new folklore. The rich fan cultures addressed by vibrant emerging scholars from around the English-speaking world gathered in Schott and Moffatt's collection are the true heirs of this uncanny invasion. The mix of glamour and disgust, aestheticism and dread vampires evoke offers metaphors for every form of anxiety and unholy yearning: a bloodstained laboratory for social experiment. This collection opens new corridors into the chambers of the undead, and casts an eerie light on the subterranean worlds of fans and vampires alike." -Sean Cubitt, Professor of Global Media and Communication, Winchester School of Art, UK. "Fanpires offers the preeminent collection of scholarly approaches to this immortal shape shifter. This compilation of insightful essays not only reflects the omnipresence of the vampire in popular culture, but it identifies the pivotal role of fans in revitalizing the life of the vampire." -Wendy Haslem, Professor of Screen Studies & Cultural Management, The University of Melbourne.
Since the publication of Twilight in 2005, Stephenie Meyer's four-book saga about the tortured relationship between human heroine Bella Swan and her vampire love Edward Cullen has become a world-wide sensation--inciting screams of delight, sighs of derision, and fervent pronouncements. Those looking deeper into its pages and on screen can find intriguing subtexts about everything from gender, race, sexuality, and religion. The 15 essays in this book examine the texts, the films, and the fandom, exploring the series' cultural reach and offering one of the first thorough analyses of the saga.
Sick of wrongful-death lawsuits every time a full moon comes around? Call the Underworld Detection Agency. As a human immune to magic, Sophie Lawson can help everyone from banshee to zombie transition into normal, everyday San Francisco life. With a handsome werewolf as her UDA boss and a fashionista vampire for a roommate, Sophie knows everything there is to know about the undead, the unseen, and the uncanny. . . Until a rash of gruesome murders has demons and mortals running for cover, and Sophie finds herself playing sidekick to detective Parker Hayes. Dodging raging bloodsuckers, bad-tempered fairies, and love-struck trolls is one thing. But when Sophie discovers Parker isn't what he seems, she's got only one chance to figure out whom to trust. Because an evil hiding in plain sight is closing in. . .and about to make one wisecracking human its means to ultimate power. . .
As seen in HBO's "True Blood", vampires have never been more edgy, gory or sexy. Since its arrival on screen in 2008, Alan Ball's adaptation of "The Southern Vampire Mysteries" by Charlaine Harris has exploited the creative freedoms of the HBO brand and captured a cult audience with its passionate, blood-drenched visuals and stories. From viral webisodes depicting vampires announcing themselves on TV to the steamy title sequence and the show's uninhibited use of language, sex and gore, "True Blood" has quickly gained status as cult TV with bite. "True Blood" posed the question of what would happen if vampires 'came out of the coffin' and this book considers the representations of sexuality, race and class in a series that engages directly with prejudice and civil rights. It also considers "True Blood's" generic roots in television horror, paranormal romance and Southern Gothic, the wider contexts of fairy tales and religion, the marketing of the series and the activities of its fans. Written for students, scholars and fans, "True Blood: Investigating Vampires and Southern Gothic" explores the hidden depths of "True Blood's" vampire bars, small town communities and haunted bayous.
Never Tempt Fate It's been a hell of a day for Abby Barlow. In just a few hours, she's survived an explosion, watched her employer die, had a startling dream, and now she finds herself in a seedy Chicago hotel with the sexy, unearthly Dante, a man she both desires and fears. For 341 years, Dante has stood as guardian to The Chalice, a mortal woman chosen to hold back the darkness. A terrible twist of fate has now made Abby that woman. Three hours ago, Dante would have used all his charms to seduce her. Now she is his to protect. And he will do so until his very death. In this dazzling, sensual novel, Dianne Duvall beckons readers into a world of vampires, immortals, and humans with extraordinary gifts. . .where passion can last forever, if you're willing to pay the price. . . Once, Sarah Bingham's biggest challenge was making her students pay attention in class. Now, after rescuing a wounded stranger, she's landed in the middle of a battle between corrupt vampires and powerful immortals who also need blood to survive. Roland Warbrook is the most compelling man Sarah has ever laid hands on. But his desire for her is mingled with a hunger he can barely control. . . Sick of wrongful-death lawsuits every time a full moon comes around? Call the Underworld Detection Agency. As a human immune to magic, Sophie Lawson can help everyone from banshee to zombie transition into normal, everyday San Francisco life. With a handsome werewolf as her UDA boss and a fashionista vampire for a roommate, Sophie knows everything there is to know about the undead, the unseen, and the uncanny. . . Sick of wrongful-death lawsuits every time a full moon comes around? Call the Underworld Detection Agency. As a human immune to magic, Sophie Lawson can help everyone from banshee to zombie transition into normal, everyday San Francisco life. With a handsome werewolf as her UDA boss and a fashionista vampire for a roommate, Sophie knows everything there is to know about the undead, the unseen, and the uncanny. . .
To explain the millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She considers the work of Dan Brown and Stephenie Meyer, graphic novelists Mike Mignola and Garth Ennis, Christian writer William P. Young (author of The Shack), and filmmaker Guillermo del Toro. She considers twentieth-century Gothic masters H.P. Lovecraft, Anne Rice, and Stephen King in light of both their immediate ancestors in the eighteenth century and the original Gothic--the late medieval period from which Horace Walpole and his successors drew their inspiration. Fictions such as the Twilight and Left Behind series do more than follow the conventions of the classic Gothic novel. They are radically reviving and reinventing the transcendental worldview that informed the West's premodern era. As Jesus becomes mortal in The Da Vinci Code and the child Ofelia becomes a goddess in Pan's Labyrinth, Nelson argues that this unprecedented mainstreaming of a spiritually driven supernaturalism is a harbinger of what a post-Christian religion in America might look like.
As seen in HBO's "True Blood", vampires have never been more edgy, gory or sexy. Since its arrival on screen in 2008, Alan Ball's adaptation of "The Southern Vampire Mysteries" by Charlaine Harris has exploited the creative freedoms of the HBO brand and captured a cult audience with its passionate, blood-drenched visuals and stories. From viral webisodes depicting vampires announcing themselves on TV to the steamy title sequence and the show's uninhibited use of language, sex and gore, "True Blood" has quickly gained status as cult TV with bite. "True Blood" posed the question of what would happen if vampires 'came out of the coffin' and this book considers the representations of sexuality, race and class in a series that engages directly with prejudice and civil rights. It also considers "True Blood's" generic roots in television horror, paranormal romance and Southern Gothic, the wider contexts of fairy tales and religion, the marketing of the series and the activities of its fans. Written for students, scholars and fans, "True Blood: Investigating Vampires and Southern Gothic" explores the hidden depths of "True Blood's" vampire bars, small town communities and haunted bayous.
Throughout the long-running BBC series Doctor Who, the Doctor has rarely been alone--his companions are essential. Male or (mostly) female, alien or (mostly) human, young or old (none as old as he), the dozens of companions who have travelled with him over the past 50 years have served as sympathetic proxies for the audience. Through their adventures the companions are perfected, facing danger and thus discovering their strengths and weaknesses. Yet they all pay a price, losing their innocence and sometimes their lives. This collection of new essays examines the role of the companion as an intermediate between viewers and the Doctor. The contributors discuss who travels with the Doctor and why, how they interact, how the companions influence the narrative and how their journeys change them.
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.