Open Graves, Open Minds

The Open Graves, Open Minds Project began by unearthing depictions of the vampire and the undead in literature, art, and other media, then embraced werewolves (and representations of wolves and wild children), fairies, and other supernatural beings and their worlds. The Project extends to all narratives of the fantastic, the folkloric, and the magical, emphasising that sense of Gothic as enchantment rather than simply horror. Through this, OGOM is articulating an ethical Gothic, cultivating moral agency and creating empathy for the marginalised, monstrous or othered, including the disenchanted natural world.

Open Graves, Open Minds

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← Roger Luckhurst, ‘Why bother reading Bram Stoker’s Dracula?’

Pride and Prejudice and Zombies (2016) – The Movie →

Genevieve Valentine, ‘How the vampire became film’s most feminist monster’

Posted on 16th October 2015 by William the Bloody

A fascinating essay by Genevieve Valentine on the shifting nature of the powerful and ambivalent female vampire in cinema.

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About William the Bloody

Cat lover. 18C scholar on the dialogue and novel. Co-convenor OGOM Project

View all posts by William the Bloody →

This entry was posted in Critical thoughts and tagged A Girl Walks Home Alone at Night, Byzantium, Carmilla, Dracula, Dracula's Daughters, Feminism, Film, Hammer horror, Interview With the Vampire, Let the Right One In, Neil Jordan, Only Lovers Left Alive, sexuality, Thirst, Vampires. Bookmark the permalink.

← Roger Luckhurst, ‘Why bother reading Bram Stoker’s Dracula?’

Pride and Prejudice and Zombies (2016) – The Movie →

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