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"Vampires Drama"
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Evil Meal of Evil
An Evil Meal of Evil is a play about greed and its consequences. Set in the traditional African village of 'Ntisong', the play exposes the complexities of unravelling the issue of Death. Sunyin, the young wife of Dohbani epitomizes what is wrong with coerced marriages. A group of blood thirsty vampires popularly known in the village as members of 'Nda Saah' superstitiously kill targeted individuals purposely to enrich themselves. Sunyin, the protagonist in the play suffers from a premature widowhood simply because her father Njukebim forced her into marrying Dohbani. As the play unravels with the culprit of 'Nda Saah' brought to justice, questions still linger about the fate of 'Ntisong'. This play examines the advantages and disadvantages of 'black art' mysticism in Africa.
eBook
Unlocking The Vampire Diaries: Genre, Authorship, and Quality in Teen TV horror
The Vampire Diaries began life as a series of novels before being adapted into a television series screened on the CW channel in the US and ITV2 in the UK. This article explores how the show contributes to debates over genre and authorship within the context of the TV vampire via its status as a teen horror text. It also investigates how the show intersects with debates over quality television via the involvement of teen-TV auteur Kevin Williamson. In exploring genre and authorship, the article considers how The Vampire Diaries functions as a teen drama and a TV vampire/horror text.
Journal Article
Therapy for a vampire
A vampire in 1930s Vienna seeks marriage counseling from Sigmund Freud and meets the reincarnation of his one true love in this ensemble comedy, a hilarious mess of mistaken identities that proves 500 years of marriage is enough.
Streaming Video
Vampire clay
Absurdity and gore ensue as a possessed pile of clay begins terrorizing students at an art school.
Streaming Video
VAMPIRES IN KILTS
As sexual predator the Vampire was closely related to other villains of the Gothic Drama of the period. Cast in a new role as one who first debauches then sucks the blood of his victims, the vampire underwent a major transformation from his earlier folkloric identity in the eighteenth century to his peculiarly urbane post-revolutionary character. Once no more than a resurrected corpse that preyed upon the living, the new vampire was a nobleman of the ancien régime. In the figure of the sophisticated vampire, sexual transgressions were blended with the Sadistic themes of the sexual libertinism of a decadent aristocracy. Also, the stage vampire was an evil antagonist and defiler of religious orthodoxy, whose worship of Satan included the blasphemous parody of drinking the blood, not of Christ, but of a victim or new convert to the dark ways of the living dead.The vampire melodrama performed during the 1820s introduced a disturbingly different transgressive behaviour.1 In imposing his spell on his victims, male as well as female, the stage vampire controlled all witnesses to his act. Members of the audience, no less than characters on the stage, succumbed to the Wirkungsästhetik of the vampire's gaze.2 The viewer of the play, as another convert, is presumed to fall under the vampire's thrall. This essay provides an opportunity to discuss the presumptions of transgressive theatre: not simply to reveal the trespasses against established norms, but to provoke audience tensions of participation and repudiation.
Journal Article
Count Dracula
Not, of course, that Count Dracula has been unduly troubled by competitors for that particular distinction in the ensuing years, but that, as they say, is another story . . Since first being adapted for the screen by F.W. Mumau in 1922, Stoker's Dracula has tended to inspire a remarkably cavalier attitude in film-makers who have often seemed quite happy - even eager - to drive as many stakes through the heart of their source material as has taken their fancy. [...]while Mumau's Nosferatu and Tod Browning's 1931 version (an adaptation of Hamilton Deane's stage play rather than the book itself) undoubtedly possessed many virtues, fidelity to Stoker was not foremost among them.
Journal Article