Table of Contents


Acknowledgments

Foreword: We Are, All of Us, Renfields

John Edgar Browning

Introduction

Simon Bacon

Part I-Dracula: Adaptations and Re-Creations

We Are Dracula: Penny Dreadful and the Dracula Megatext

Jeffrey Andrew Weinstock

"Better Parts": Redemptive Portrayals of Count Dracula as Vlad the Impaler in Selected Film Adaptions of Stoker's Dracula

Wayne Derek Pigeon-Coote

"I've crossed oceans of versions to find you": Remediating Mina from Novel to Screen in Bram Stoker's Dracula (1992)

Cathleen Allyn Conway

Part II-Across Mediums, Platforms and Levels of Engagement

Byzantium Stage to Screen

Gina Wisker

Pixel Parasites: The Virtual Vampire as Enemy, Ally and Self in Video Games

Shawn Edrei

Vampire as Doll: Transformations of Meaning Through Play in the Vampirina and Draculaura (Monster High) Franchises

Derek Newman-Stille

"Do Vampires Get Their Periods?": The Carmilla Web Series and the Politics of Bleeding Women

Alexandra Heller-Nicholas

Part III-Transnational Transmedia

Vampire Tourism: Transmedia Narratives, Cultural Histories and Locating the Undead

Lorna Piatti-Farnell

Thinking in Connections: A.A. Carr's Eye Killers and F.W. Murnau's Nosferatu

Svetlana Seibel

From Revenants to Vampires: The Transmedia Evolution of the Jiangshi

Katarzyna Ancuta

Part IV-Interventions, Fandom, Ownership

Transmedia Interventions and Palimpsestuous Relations: Carmilla Meets Carmen Maria Machado

Natalie Wilson

The Originals and Family History Two-Fold: Caught Between Two Worlds

Verena Bernardi

Transmedia Vampire Stories and Their Consumers in Anne Rice's The Vampire Chronicles

Laura Davidel

First-Person Gothic: Anne Rice, Vampirism, Authorship and Identity

Evan Hayles Gledhill

About the Contributors

Index

Simon Bacon is an independent scholar based in Poznan, Poland. He has authored and edited many volumes on vampires, monstrosity, science fiction and media studies.

This book explores vampire narratives that have been expressed across multiple media and new technologies. Stories and characters such as Dracula, Carmilla and even Draculaura from Monster High have been made more "real" through their depictions in narratives produced in and across different platforms. This also allows the consumer to engage on multiple levels with the "vampire world," blurring the boundaries between real and imaginary realms and allowing for different kinds of identity to be created while questioning terms such as "author," "reader," "player" and "consumer." These essays investigate the consequences of such immersion and why the undead world of the transmedia vampire is so well suited to life in the 21st century.