Leon Hunt's Screening the Undead: Vampires and Zombies in Film and PDF
By Leon Hunt
Leading writers on Horror and cult media ponder the attractive vampire and the gruesome zombie, in addition to hybrid figures who don't healthy smartly into both class. those are tested throughout a number of contexts, from the Swedish vampire to the Afro-American Blacula, from the lesbian vampire to the homosexual zombie, from the Spanish Knights Templar using skeletal horses to dancing eastern zombies. Screening the Undead sheds new gentle on those icons of terror - and wish - whose well known sturdiness has taken them 'Beyond Life'.
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The vampire and the zombie, the 2 most well liked incarnations of the undead, are introduced jointly for a forensic severe research in Screening the Undead. either have a protracted heritage in well known fiction, movie, tv, comics and video games; the vampire additionally continues to be crucial to pop culture at the present time, from literary 'paranormal romance' to cult television and film franchises - via turns romantic, tortured, ugly, countercultural, a goth icon or lonely outsider.
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Extra resources for Screening the Undead: Vampires and Zombies in Film and Television
But there were other films which used Manson Family imagery, as in the crazed cults and assorted freaks in the likes of I Drink Your Blood (Durston, 1970), Blood on Satan’s Claw (Haggard, 1971) and The Night God Screamed (Madden, 1973). 10 While any Manson references in Count Yorga, Vampire are coincidental (the film opened a few days before the trial of The Family members began), both the sequel and the nakedly-opportunistic Deathmaster make the connection explicit. In the former film, Yorga sends out his zombie brides to attack a house full of people in a frightening sequence that consciously echoes the Tate–LaBianca murders, the carpets of this middle-class suburban home spattered with blood, furniture overturned and broken glass and corpses littering the floor.
Darren Elliott-Smith rectifies this imbalance by firming placing the homosexual zombie on the film analysis map through consideration of how the zombie can be used in metaphorical terms for homosexuality. Elliott-Smith examines the opportunities provided by ‘the zombie’ for queer meanings and readings before moving on to survey the representation of the gay zombie in contemporary queer horror, including Creatures of the Pink Lagoon (Chris Diani, 2006) and The Nature of Nicholas (Jeff Erbach, 2002).
In the prologue to Blacula, we see how the African Prince Mamuwalde is bitten after a (somewhat credibility-stretching) journey to Transylvania in an attempt to persuade Count Dracula to join his anti-slavery campaign. Mamuwalde, dubbed Blacula by the racist Count, is brought to America by two outrageously stereotyped gay antique dealers. 5 In addition, I would argue that these cartoonish characters also serve to emphasise Blacula’s hyper-masculinity. He may wear evening dress, possess an unfashionable courtly manner and put the bite on a couple of flamboyant gay men, but the viewer can be reassured as to his propensity for violence.
Screening the Undead: Vampires and Zombies in Film and Television by Leon Hunt