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Foreword | p. v |
Acknowledgments | p. vii |
Introduction: Documenting Dracula and Global Identities in Film, Literature, and Anime | p. ix |
Tackling Race, Gender, and Modes of Narration in America | |
Manly P. Hall, Dracula (1931), and the Complexities of the Classic Horror Film Sequel | p. 3 |
The Dracula and the Blacula (1972) Cultural Revolution | p. 19 |
The Compulsions of Real/Reel Serial Killers and Vampires: Toward a Gothic Criminology | p. 37 |
Blood, Lust, and the Fe/Male Narrative in Bram Stoker's Dracula (1992) and the Novel (1897) | p. 63 |
The Borg as Vampire in Star Trek: The Next Generation (1987-1994) and Start Trek: First Contact (1996): An Uncanny Reflection | p. 77 |
When Women Kill: Undead Imagery in the Cinematic Portrait of Aileen Wuornos | p. 93 |
Working through Change and Xenophobia in Europe | |
Return Ticket to Transylvania: Relations between Historical Reality and Vampire Fiction | p. 115 |
Racism and the Vampire: The Anti-Slavic Premise of Bram Stoker's Dracula (1897) | p. 127 |
The Greateful Un-Dead: Count Dracula and the Transnational Counterculture in Dracula A.D. 1972 (1972) | p. 135 |
Nosferatu the Vampyre (1979) as a Legacy of Romanticism | p. 153 |
Imperialism, Hybridity, and Cross-Cultural Fertilization in Asia | |
"Death and the Maiden": The Pontianak as Excess in Malay Popular Culture | p. 167 |
Becoming-Death: The Lollywood Gothic of Khwaja Sarfraz's Zinda Laash (Dracula in Pakistan [US title], 1967) | p. 187 |
Modernity as Crisis: Goeng Si and Vampires in Hong Kong Cinema | p. 203 |
Enter the Dracula: The Silent Screams and Cultural Crossroads of Japanese and Hong Kong Cinema | p. 235 |
Identity Crisis: Imperialist Vampires in Japan? | p. 261 |
The Western Eastern: Decoding Hybridity and CyberZen Goth(ic) in Vampire Hunter D (1985) | p. 279 |
Index | p. 295 |
About the Editors and Contributors | p. 311 |
Table of Contents provided by Ingram. All Rights Reserved. |
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