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OGOM Book: List of Contents
Contents 1. Sam George and Bill Hughes, Introduction 2. Conrad Aquilina, The deformed transformed; or, from bloodsucker to Byronic hero – Polidori and the literary vampire. 3. Julieann Ulin, Sheridan Le Fanu’s vampires and Ireland’s invited invasion. 4. Sam George, ‘He make in the mirror no reflect’: undead aesthetics and mechanical reproduction – Dorian Gray, Dracula, and David Reed’s ‘vampiric painting’. 5. Lisa Lampert-Weissig, The vampire as dark and glorious necessity in George Sylvester Viereck’s House of the Vampire and Hanns Heinz Ewers’ Vampir. 6. Stacey Abbott, The undead in the kingdom of shadows: the rise of the cinematic vampire. 7. Lindsey Scott, Crossing oceans of time: Stoker, Coppola and the ‘new vampire’ film. 8. Malgorzata Drewniok, ‘I feel strong. I feel different’: transformations, vampires and language in Buffy the Vampire Slayer. 9. Catherine Spooner, ‘Gothic Charm School; or, how vampires learned to sparkle’. 10. Jennifer H. Williams, A vampire heaven: the economics of salvation in Dracula and Twilight. 11. Sara Wasson and Sarah Artt, The Twilight Saga and the pleasures of spectatorship: the broken body and the shining body. 12. Michelle Smith, The postmodern vampire in ‘post-race’ America: HBO’s True Blood. 13. Kimberley McMahon-Coleman, ‘Myriad mirrors: doppelgängers and doubling in The Vampire Diaries‘. 14. Ivan Phillips, The vampire in the machine: exploring the undead interface. 15. Bill Hughes, ‘Legally recognised undead’: essence, difference, and assimilation in Daniel Waters’s Generation Dead. 16. Marcus Sedgwick, The elusive vampire: folklore and fiction – writing My Swordhand is Singing. |
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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.
