Vampires, race, and transnational Hollywoods:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2017]
|
| Schriftenreihe: | Traditions in American cinema
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiii, 282 Seiten Illustrationen |
| ISBN: | 9781474423083 |
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Datensatz im Suchindex
| _version_ | 1804177487316385792 |
|---|---|
| adam_text | CONTENTS
A
List of Illustrations viii
Acknowledgments x
Introduction: Migrations and Mutations 1
Why Vampires Matter 6
Overview of the Book 8
How Hollywood is Transnational and Race has Afterlives 13
Chapter Outlines 17
1. Blood, Bodies, and Borders 21
The Moment of Count Dracula 24
Count Dracula Refashioned as “Vampire Ayatollah” 31
An Iranian American Feminist Screens a Vampire Film
at Sundance 34
The Figure of the Vampire as Object and Method 40 2
2. “Making” Americans from Foreigners 45
Masquerading US Landscapes as Foreign Locales 47
Comedies of Contained Assimilation and Segregation 51
Romance and Literacy as Alternatives to Unionized Labor 55
Romantic Assimilation to Productive Citizenship 58
Melodrama and Miscegenation 61
Locating Borders on the Body 66
VAMPIRES, RACE, AND TRANSNATIONAL HOLLYWOODS
3. Classical Hollywood Vampires: The Unnatural Whiteness
of America 68
Hollywood’s Unnaturally White Stars 71
Accented Arrivals and Deadly Departures 75
Scarred Bodies, Scared Nations 80
Hollywood’s “Broken Spanish” 85
Ethnicity after Assimilation 89
Postwar Parodies of Intrawhite Racism 92
The Vampire as Frontier Fighter 96
4. International Hollywood Vampires: Cosmopolitanisms of
“Foreign Movies” 100
Feeling American through “Cheap Foreign Movies” 103
Hollywood Finances an “English Gothic” 106
Sequels and Parodies of an Anglo-Saxon Homeland 109
Silencing through Dubbing, Interpreting through Subtitling 114
Making “Mexicans” in Miami: Mexi-Gothic for US Television 116
Undead, Unidentified, Unacknowledged: “Made For America”
in the Philippines 123
Distributing Childlike Images 130
5. Vampires of Color: A Critique of Multicultural Whiteness 134
Diverse Hollywood, Familiar Habits 136
National Passing: Difference Disappearing into Diversity 140
Black Vampires, from Disqualified Immigration to Qualified
Citizenship 143
“Getting Civilized” 149
Transient and Unsettled Whiteness 152
Miscegenation and Multiculturalism 155
Historicizing Multiculturalism 158
6. Terrorist Vampires: Religious Heritage or Planetary Advocacy 163
Humanism’s Limiting Empathy 166
A Heritage of Christian Crusades 170
Vampires in Post-NAFTA Borderlands 173
The Difference between Slayers and Daywalkers 179
The “Twilight” of Indigenous Nations and Other
Exterminations 184
Genetically Engineered Species and Neoliberal Wars 188
7. Other Vampires, Other Hollywoods: Serialized Citizenship and
Narrowcast Difference 193
Media Convergence and Conglomerations 196
Canada as Hollywood’s Home Market 199
vi
CONTENTS
Asian America, Made for Television 202
Slaying without a Feminist Role Model, Walking while Black 205
Vampires in the New South 209
Recognizing Difference: Miami, Toronto, Dublin 215
Web Series and Queer Feminism 221
Adapting to (and from) Videogames 225
Conclusion: History and Hollywood, Mashed-up 229
Filmography 240
Bibliography 245
Index 264
vii
Traditions In American Cinema
Series Editors: Linda Badley and R. Barton Palmer
This series explores a wide range of traditions in American cinema which are in need of
introduction, investigation or critical reassessment. It emphasises the multiplicity rather than
the supposed homogeneity of studio-era and independent filmmaking, making a case that the
American cinema is more diverse than some accounts might suggest.
VAMPIRES, RACE, AND
TRANSNATIONAL HOLLYWOODS
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, the Philippines and South Africa. As the vampire’s popularity has swelled, vampire
film and television has engaged with changing discourses around race and identity that are 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.
Dale Hudson is associate professor (NTE) in the Film and New Media Program at New York
University Abu Dhabi and is digital media curator for the Finger Lakes Environmental Film Festival.
Cover image: Bill Nighy in Underworld: Rise of the Lycons, Patrick Tatopoulos, 2009 © Screen Gems/Photofest
Cover design: riverdesign.co.uk
EDINBURGH
University Press
edinburghuniversitypress.com
ISBN 978-1-¿74 -2308-3
83
9 78
1474 4230
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| title | Vampires, race, and transnational Hollywoods |
| title_auth | Vampires, race, and transnational Hollywoods |
| title_exact_search | Vampires, race, and transnational Hollywoods |
| title_full | Vampires, race, and transnational Hollywoods Dale Hudson |
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