All Around Monstrous
Monster Media in Their Historical Contexts
Edited by
Verena Bernardi
Saarland University, Germany
Frank Jacob
Nord University, Norway
Series in Critical Media Studies
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Table of contents
Introduction: All Around Monstrous or a
Critical Insight into Human-Monster Relations
v
Frank Jacob and Verena Bernardi
Chapter 1
Two Sides of the Same Coin: Witches,
Class, Gender, and Modernity in Jeannette
Winterson’s The Daylight Gate
1
Jessica Doble
Chapter 2
From Deadly to Dead Friendly: The
Acculturation of the Vampire in Young
Children’s Literature of the 1970s and 80s
23
Simon Bacon
Chapter 3
Conflict and Complexity: Humanist
and Spiritualist Discourses in Anne Rice’s
The Vampire Armand
45
Svetlana Seibel
Chapter 4
From Revulsion to Revival: Representation
and Reception of Monstrosity
in Tod Browning’s Freaks
71
Stephanie Flint
Chapter 5
On weres waestmum – In the Form of a Man:
Grendel’s Changing Form in Film Adaptations
97
Almudena Nido
Chapter 6
Moonlight and Silver Bullets: Twentieth
Century Racial Purity in Werewolf Films
127
Octavia Cade
Chapter 7
Romance as a Panacea and a New Generation
of Intellectual Zombies in Warm Bodies
and iZombie
Tatiana Prorokova
147
Chapter 8
Noble Savages, Magical Negroes, and Exotic
Others, Oh My!: Black Female Vampires
in Twilight: Breaking Dawn Part 2
161
Kendra R. Parker
Chapter 9
“One Big Happy Frankenstein Family” –
The Originals: From Monstrous Patriarchy
to Unruly Modern Family
187
Verena Bernardi
Chapter 10
From Tokyo’s Destroyer to International Icon:
Godzilla and Japanese Monstrosity
in the Postwar Age
211
Frank Jacob
Chapter 11
Music to Save an Audience:
Two Melodramatic Vampires of 1820
and the Music that Betrays Them
245
Ryan D. Whittington
Contributors
273
Index
277
Introduction:
All Around Monstrous or a Critical Insight
into Human-Monster Relations
Frank Jacob and Verena Bernardi
Michel Foucault (1926-1984) defined the monster as the “great model of all
small aberrations” and the “principle of recognizability of all forms of
anomaly.”1 Therefore, monsters or the monstrous can be found in any
anomaly, in every form that does not fit social norms in a specific time-space
continuum. And in fact, as Australian historian, Evelleen Richards correctly
remarks, “monsters are everywhere.”2 The different monstrous “massmarketed manifestations, werewolves, vampires, devils, alien horrors, technorecreated escapee dinosaurs … have provided us with so many variations on
the ancient myth of the Beast, the terrible ‘something’ lurking out there, as to
make it one of the defining metaphors of our age,”3 although every age can
claim its own monsters and monstrosities. While monsters seem to be
everywhere, the simple narrative that they “are evil, and the hero is good”4 is
rarely enough to explain the whole picture related to modern day
monstrosities or their predecessors. They are as complex as those who create
the monsters, i.e., the humans in their specific time and place.
Frankenstein’s monster was not the only one that was “man-made” or
“manufactured from man”5 and was therefore an “indictment of the
technology that created him and of the humans who, repelled by his
monstrous appearance, made him an outcast.”6 What animates the monster
Michel Foucault, Die Anormalen: Vorlesungen am Collège de France (1974–1975)
(Frankfurt a. M.: Suhrkamp, 2007), 77-78.
2 Evelleen Richards, “(Un)Boxing the Monster,” Social Studies of Science 26, no. 2,
Special Issue on “The Politics of SSK: Neutrality, Commitment and Beyond” (1996): 323.
3 Ibid.
4 Melissa Bloom Bissonette, “Teaching the Monster: Frankenstein and Critical
Thinking,” College Literature 37, no. 3 (2010): 108.
5 Richards, “(Un)Boxing the Monster,” 324.
6 Ibid.
1
vi
Introduction
might be “something somewhere between science and magic,”7 but the
portrayal as presented by Mary Shelley (1797-1851) is more than just the
description of a mad scientist and his creation of a monster; it is also, as
American historian Howard L. Malchow highlights, a reflection of
“contemporary attitudes towards non-whites, in particular on fears and hopes
of the abolition of slavery in the West Indies.”8 It becomes clear rather fast
that monsters are multifaceted creations that resemble the problems of the
times they were created in. As Frankenstein’s monster provides different
angles for close readings, vampires have, as American English Professor Frank
Grady remarks, “also been assimilated into the current American fascination
with identity politics and ethnic self-definition,” with Anne Rice’s novels and
their main characters acting as “the immortal custodians of Western culture.”9
Next to Frankenstein’s monster and vampires, there are plenty of different
forms of monsters, all providing their own perspective on or specific narrative
related to the existent society. Canadian sociologist John O’Neill, to name just
one more example, argues that “the narrative events of Jurassic Park reenact the
conflict between apparent omnipotence (the combination of scientific
knowledge and evil) and a limited creation whose fuzzy logic guarantees the
long-run survival of humanity despite its reckless attraction to omnipotence.”10
Obviously, every monster, no matter if it is hairy, slimy, or simply dangerous for
human survival, comes with more than one specific message for interpretation,
as the contributions in the present volume will show. These messages depend
on the specific time-space continuum in which the monster is created or if
something “abnormal” is considered to be a monstrosity.
Very often, monster films document such changes very well, as they “oversee
and proclaim cultural change, encoding revised charters of the self and new
ideal standards of thought and action,”11 and King Kong (1933) might have been
one of the most important monster films so far, as it created some kind of
Mark Bould, “What Kind of Monster Are You?, Situating the Boom,” Science Fiction
Studies 30, no. 3, The British SF Boom (2003): 398.
8 Howard L. Malchow, “Frankenstein’s Monster and Images of Race in NineteenthCentury Britain,” Past & Present 139 (1993): 90-92.
9 Frank Grady, “Vampire Culture,” in Monster Theory: Reading Culture, ed. Jeffrey
Jerome Cohen (Minneapolis, MN: University of Minnesota Press, 1996), 226.
10 John O’Neill, “Dinosaurs-R-Us: The (Un)Natural History of Jurassic Park,” in Monster
Theory: Reading Culture, ed. Jeffrey Jerome Cohen (Minneapolis, MN: University of
Minnesota Press, 1996), 293.
11 David H. Stymeist, “Myth and the Monster Cinema,” Anthropologica 51, no. 2 (2009):
395.
7
Introduction
vii
“modern myth”12 and some essential patterns of the genre by which many other
monster films have been inspired. Regardless of its impact, even in the 1930s,
the monster as such was not as shocking as some of its acts. Censors, for
example, were rather concerned about one scene in which the ape took away
the clothes of actress Fay Wray (1907-2004) and another one in which the
monster kills indigenous people in one of their villages by trampling them
down.13 The monstrosity was consequently not the creature itself, but its acts.
In the 1970s and 1980s the horror film, instead of classical monsters,
focused on a new “surrealist reality effect”14 and monstrosities were created
in so-called splatter films by providing shots of deformed or opened bodies,
just like the experiences that early modern freak or horror shows had
provided. Newer horror films by Hideo Nakata, Manoj “Night” Shyamalan or
Alejandro Amenábar use non-body elements like space to create a fear of an
invisible monstrosity.15 There are obviously continuities in how the monstrous
is displayed on the cinema screen, but there is also, as German scholar Arno
Meteling highlights, an “asynchronicity of medial, aesthetic, and narrative
parallels and diversities”16 with regard to figures and plots that display the
monstrous in horror films. Especially in the medium of film, monsters have
appeared on the screen since the first images were shown, and many of these
monsters, like King Kong or Godzilla, became international icons.17
Regardless of the long monster tradition with regard to film, the monsters that
were shown, because of their steady appearance, have become rather
unspectacular and less monstrous over recent decades.18 In Hollywood,
almost all of these monster classics have been followed by remakes and
sequels, especially since money can be made from them.19 This means that
even “today’s postmodern teens,” who – according to English professors
Susan Lee Groenke and Michelle Youngquist – “are disconnected from family
Ibid., 396.
Lukas Germann, “Die Monstrosität des Realen — Filmische Bilder der Gewalt und
ihre Ästhetik,” in Von Monstern und Menschen: Begegnungen der anderen Art in
kulturwissenschaftlicher Perspektive, eds. Gunther Gebhard, Oliver Geisler, and Steffen
Schröter (Bielefeld: Transcript, 2009), 153.
14 Arno Meteling, Monster: Zur Körperlichkeit und Medialität im modernen Horrorfilm
(Bielefeld: Transcript, 2006), 10.
15 Ibid.
16 Ibid., 13.
17 Germann, Lukas. “Die Monstrosität des Realen,” 153.
18 Ibid.
19 Christian Knöppler, The Monster Always Returns: American Horror Films and Their
Remakes (Bielefeld: Transcript, 2017), 9.
12
13
viii
Introduction
and social institutions, live amid constant change and ambiguity, and hang
out in such nonplaces as cyberspace,”20 can experience the same monsters on
cinema screens as the generations before them.
Yet monsters, as the present volume will show, are not only present on the
cinema screen, but approach us everywhere and in every possible media.
There, they “hold some distant but threatening relationship of difference to
the norms we construct to order our world”21 and in a way confront us with a
steady discourse about our own role within this world. Architectural historian
Terry Kirk highlights that “[m]onsters proliferate in times of crisis” and that it
needs “a prevailing apocalyptic mood, usually triggered by political upheaval
and threatening loss of control”22 to bring them alive. They represent, he
continues, the “collective anxieties”23 of a society in a specific time and when
the creature is shown or told to be captured or killed, the members of such a
society cheer, because at the same time their own anxieties are kept in check.
Regardless of their appearance and the media in which they are presented,
monsters are cultural products that help us to recognize our own norms,
namely through the abstraction with the monstrous Other. That the
interpretatory perspective of monstrosity can change is already visible in
early modern texts, when medieval representations were mixed with present
trends, to create a modernity owned by its people.24 In the literary texts of
early modern Europe, therefore, “monsters not only become an "alien" space
for negotiating between historical displacement and continuity, but they also
typify the notion of medieval as-other—the embodiment of a past age replete
with wonder.”25 Novels, to name just one example, can eventually “support[ ]
or undercut[ ] larger socio-political messages”26 by using monsters or the
grotesque as the means to raise timely questions, or, as Russian philosopher
Mikhail Bakhtin (1895-1975) put it,
Susan Lee Groenke and Michelle Youngquist, “Are We Postmodern Yet? Reading
"Monster" With 21st-century Ninth Graders,” Journal of Adolescent & Adult Literacy 54,
no. 7 (2011): 505.
21 Terry Kirk, “Monumental Monstrosity, Monstrous Monumentally,” Perspecta 40,
Monster (2008): 7.
22 Ibid., 8.
23 Ibid.
24 Serina Patterson, “Reading the Medieval in Early Modern Monster Culture,” Studies in
Philology 111, no. 2 (2014): 284.
25 Ibid., 286.
26 Daniel Punday, “Narrative Performance in the Contemporary Monster Story,” The
Modern Language Review 97, no. 4 (2002): 804.
20
ix
Introduction
the grotesque body is cosmic and universal. It stresses elements
common to the entire cosmos: earth, water, fire, air; … It contains the
signs of the zodiac. It reflects the cosmic hierarchy. This body can merge
with various natural phenomena … It can fill the entire universe.27
Of Humans and Monsters
The existence of the monster is dependent on the human being, which needs
the former as an antithesis to its own existence. The relationship between
human and monster is therefore also always an asymmetric one, as the latter
represents everything that is not or should not be human. That the monster
steadily appears in all kinds of popular media in a way reflects the human
need for the monstrous as well.28 Although the monster is not capable of
existing without human imagination, this existence also challenges the
human mind by triggering two usual reaction patterns, namely: 1) abhorrence
and fear, and 2) fascination and curiosity.29 Due to its existence, or better its
creation, the monster eventually becomes what American scholars Sharla
Hutchison and Rebecca A. Brown refer to as “a harbinger of change, a signifier
of futurity.”30 Nevertheless, monsters run through a steady metamorphosis
that is triggered by their uninterrupted re-imagination of readers and
audiences in any form of popular media.31
For humans the monster is nevertheless not only a significant other, it is
also a commodity that is once more particularly interesting since monsters
recently began to boom again32 Consequently, monsters and monstrosities
27 Mikhail Bakhtin, Rabelais and His World, trans. by Helene Iswolsky (Bloomington:
Indiana University Press, 1984), 318 cited in ibid., 804.
28 Gunther Gebhard, Oliver Geisler, and Steffen Schröter, “Einleitung,” in Von Monstern
und Menschen: Begegnungen der anderen Art in kulturwissenschaftlicher Perspektive, eds.
Gunther Gebhard, Oliver Geisler, and Steffen Schröter (Bielefeld: Transcript, 2009), 9.
29 Ibid., 10-11.
30 Sharla Hutchison and Rebecca A. Brown, “Introduction,” in Monsters and Monstrosity
from the Fin de Siècle to the Millennium: New Essays, eds. Sharla Hutchison and
Rebecca A. Brown (Jefferson, NC: McFarland, 2015), 1.
31 Ibid.
32 Ibid.; Iris Mendel and Nora Ruck, “Das Monster als verkörperte Differenz in der
Moderne: De-Montrationen feminisitscher Wissenschaftskritik,” in Von Monstern und
Menschen: Begegnungen der anderen Art in kulturwissenschaftlicher Perspektive, eds.
Gunther Gebhard, Oliver Geisler, and Steffen Schröter (Bielefeld: Transcript, 2009), 117.
x
Introduction
have gained attention with regard to the academic discourse,33 in which the
figure of the monster is very often used as a category of scientific analysis.34
While the depiction or presentation of the monster in popular media can
help us to better understand subconscious determining forces as sexism,
racism, stereotypes, etc.,35 the monster itself provides numerous
approaches to study cultures or societies, especially since the categories
determined by it are so broad. As Hutchison and Brown emphasize,
“monsters may (simultaneously) represent the Freudian and Jungian
repressed, socio-cultural transformations and anxieties as well as
commodity culture.”36 It is probably due to this multi-layered monstrosity
that humans “remain obsessed by [the monsters’] sometimes destructive,
sometimes domesticated, always unpredictable presence, consistently
seduced by the possibility of learning from them or about them so as to
understand our selves, our societies, our nations, and even our increasing
globalization.”37 It is consequently not surprising that each society creates
its own monsters and displays them in all forms of popular media, and
therefore provides academics with endless case studies of the monstrous.
In all these cases, monsters not only entertain, but also, as Kirk correctly
remarks, “mark the boundaries of cultural values,” because it is the method
of their creation that “is symptomatic of how a culture conceives of
collective inquiry to the tolerated limits of its self-awareness.”38 The Other
then can simply not be explained, yet is needed to define the self, always
waiting in the shadows to be summoned for an identity discourse: that is
the monster we created, the monster within us. It is through this reflection
that the monster keeps its dual semiotics, above mentioned and
highlighted by Kirk, of fear and attraction:
Some works related to that discourse are: Noël Carroll, The Philosophy of Horror
(London/New York: Routledge, 1990); Judith (Jack) Halberstam, Skin Shows: Gothic
Horror and the Technology of Monsters (Durham, NC: Duke University Press, 1995);
Nina Auerbach, Our Vampires, Ourselves (Chicago, IL: University of Chicago Press,
1996); Kelly Hurley, The Gothic Body: Sexuality, Materialism and Generation at the fin de
siè
cle (Cambridge: Cambridge University Press, 1996); Asa Simon Mittman and Peter
Dendle, eds. Ashgate Research Companion to Monsters and the Monstrous (Farnham:
Ashgate, 2013).
34 Mendel, “Monster,” 117.
35 Ibid., 118.
36 Hutchison and Brown, “Introduction,” 2.
37 Ibid.
38 Kirk, Terry. “Monumental Monstrosity,” 7.
33
xi
Introduction
Monsters are deviant, transgressive, threatening, and therefore
horrible, terrifying, and tremendous yet also astonishing, marvelous,
and prodigious. The modern scientist orders monsters in terms of
relationships to nature’s norms. Paré classified them as either
prodigious apparitions beyond the course of nature or deviant
creations entirely against its course.39
Dealing with monstrosities very often also involves a discussion of the body,
and initially, monster research was rather uncommon40 and mainly focused
on aspects of the aesthetics of the dysplastic body.41 A history of the monster,
and a special focus on the historical context of monster media, as it is
provided by the present volume, will show how monstrosities were perceived
through the centuries.42 What is considered monstrous is also related to the
specific time-space continuum of its existence, and very different actions, like
rape,43 or body trends, like female tattoos,44 were being considered to be
monstrous. Whatever the monstrosity, however, it is always in need of a
definitory opposition. How it can be defined, perceived, and evaluated was
demonstrated by American scholar Jeffrey Jerome Cohen, who has provided a
“sketch of a new modus legendi: a method of reading cultures from the
monsters they engender” by offering “seven theses toward understanding
cultures through the monsters they bear.”45
Cohen’s Seven Theses
Cohen’s seven theses, formulated in the mid-1990s, are an essential
framework for monster studies and shall therefore be shortly summarized.
The theses are:
Ibid.
Lorraine Daston and Katharine Park, “Unnatural Conceptions: The Study of Monsters
in Sixteenth- and Seventeenth-Century France and England,” Past & Present 91, no. 1
(1981): 20-54 marked an important turning point.
41 Birgit Stammberger, Monster und Freaks: Eine Wissensgeschichte außergewöhnlicher
Körper im 19. Jahrhundert (Bielefeld: Transcript, 2011), 11.
42 Ibid., 13-15.
43 Garthine Walker, “Everyman or a Monster? The Rapist in Early Modern England,
c.1600-1750,” History Workshop Journal 76 (2013): 5.
44 Christine Braunberger, “Revolting Bodies: The Monster Beauty of Tattooed Women,”
NWSA Journal 12, no. 2 (2000): 6.
45 Jeffrey Jerome Cohen, “Monster Culture (Seven Theses),” in Monster Theory: Reading
Culture, ed. Jeffrey Jerome Cohen (Minneapolis, MN: University of Minnesota Press,
1996), 3-4.
39
40
xii
Introduction
Thesis I: The Monster’s Body is a Cultural Body
When the monster’s body is a resemblance of the society that produced it, it
is highly impacted by “a time, a feeling, and a place” and therefore must be
understood as a historical product, i.e., something that is ‘made' in a specific
time-space continuum. Due to this, the “monster’s body … incorporates fear,
desire, anxiety, and fantasy,” which means that it is “pure culture.”46
Thesis II: The Monster Always Escapes
Whatever monster is killed in a specific time, it might return in another to be
read or displayed in a different way, addressing the current anxieties of its
human creators.
Thesis III: The Monster is the Harbinger of Category Crisis
Monsters cannot be understood along human categories or hierarchies,
because they display a total otherness, and therefore resist such
classifications.47 Cohen correctly argues, related to this thesis, that “the
geography of the monster is an imperiling expanse, and therefore always a
contested cultural space.”48
Thesis IV: The Monster Dwells at the Gates of Difference
Without the monster, there is no Other, as it “is difference made flesh” and
therefore must “function as dialectical Other”49 which is usually
constructed according to “cultural, political, racial, economic [or] sexual”50
categories. It must therefore be emphasized that every time has its own
monsters, and they “are never created ex nihilo, but through a process of
fragmentation and recombination in which elements are extracted … and
then assembled as the monster.”51
Thesis V: The Monster Polices the Borders of the Possible
The monster, although created by human minds, is also acting as a guardian
of the unknown, which is probably why it is so fascinating at the same time.
Ibid., 4.
Ibid., 7.
48 Ibid.
49 Ibid.
50 Ibid.
51 Ibid., 11.
46
47
xiii
Introduction
An engagement with the monster, due to the curiosity of the human, is,
however, very often rather negative for the latter: “To step outside this official
geography is to risk attack by some monstrous border patrol or (worse) to
become monstrous oneself.”52
Thesis VI: Fear of the Monster is really a Kind of Desire
It is obvious that the monster is ambivalent, i.e., as mentioned before,
frightening but attractive at the same time. It is the “linking of monstrosity
with the forbidden makes the monster all the more appealing as a temporary
egress from constraint” and it is therefore not surprising that “simultaneous
repulsion and attraction [are] at the core of the monster’s composition.”53
Thesis VII: The Monster Stands at the Threshold … of Becoming
The pure existence of the monster eventually creates discourse, and no
matter how far it is pushed away, it will always find a way back to create a new
discussion about this existence.
Monsters will consequently never fully disappear, because they are an
essential factor within human discourse about everything that can be
considered culture in a specific geographical setting at a specific time. It is
therefore clear that monsters will be different in every time, but they are a
necessary Other without which the self must remain undefined. The present
volume tries to give some answers to the question of how the monstrous is
displayed, discussed, and perceived in its different historical contexts and in
different popular media.
Contributions
The first section of the present volume discusses monster case studies in
popular literature. Jessica Doble analyzes the depiction of witches in Jeannette
Winterson’s The Daylight Gate to highlight the ambivalence—the historical
good or bad witch—of it. Simon Bacon then goes on to address the role of
vampires in Young Literature of the 1970s and 80s, before Svetlana Seibel
provides a discussion of humanist and spiritualist discourses in one of the
United States’ most famous and popular vampire novels, Anne Rice’s The
Vampire Armand.
52
53
Ibid., 12.
Ibid., 17.
xiv
Introduction
The second section deals with popular media, films and TV series. Stephanie
Flint opens the section with a discussion of the depiction and reception of
monstrosity in Tod Browning’s film Freaks (1932). That monsters might
change their appearance in films over the years is discussed by Almudena
Nido, whose chapter describes the changing form of Grendel on the cinema
screen. Another monster, the werewolf, and its different appearances over the
decades of 20th-century film history, as well as the subconscious discourses
about racial purity, are analyzed by Octavia Cade. That zombies could be
interested in relationships with human beings that go beyond the eating of
the latter’s brain is shown by Tatiana Prorokova in her chapter that provides a
deeper insight into the world of iZombie (2015-2019). The series is of specific
interest, as it depicts “intellectual zombies” who are quite different from their
fellows in other film or series formats.
Kendra Parker shows how racial stereotypes are impacting the monster
genre as she provides a close cultural reading of black female vampires in Bill
Condon’s Twilight: Breaking Dawn Part 2. That vampires are not only popular,
but also highly related to modern identity discourses in the United States is
shown by Verena Bernardi, whose chapter deals with The Originals (20132018), another TV series that creates a specific vampire milieu in the US
South. The film and television section is concluded by Frank Jacob’s chapter
on Godzilla and the representations of this Japanese monster in different
films in one of the most successful monster series in cinema history.
The final chapter of the present volume is some kind of excursion, where
Ryan D. Whittington discusses two different melodramatic productions on the
opera stage of the early 19th century, to show how monsters, i.e., vampires in
the specific case study, could be presented through music. Overall, the
chapters of the volume show the diversity of the monstrous in different
popular media and thereby again highlight that monsters have to be
understood in their specific historical and geographical contexts. Each
generation has its own fears, anxieties, stereotypes, and tastes, and therefore
naturally will also have its own monsters.
Works Cited
Auerbach, Nina. Our Vampires, Ourselves. Chicago, IL: University of Chicago
Press, 1996.
Bakhtin, Mikhail. Rabelais and His World, trans. by Helene Iswolsky.
Bloomington: Indiana University Press, 1984.
Bloom Bissonette, Melissa. “Teaching the Monster: Frankenstein and Critical
Thinking.” College Literature 37, no. 3 (2010): 106-120.
Bould, Mark. “What Kind of Monster Are You?, Situating the Boom.” Science
Fiction Studies 30, no. 3, The British SF Boom (2003): 394-416.
Introduction
xv
Braunberger, Christine. “Revolting Bodies: The Monster Beauty of Tattooed
Women.” NWSA Journal 12, no. 2 (2000): 1-23.
Carroll, Noël. The Philosophy of Horror. London/New York: Routledge, 1990.
Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” In: Monster Theory:
Reading Culture, ed. Jeffrey Jerome Cohen, 3-25. Minneapolis, MN:
University of Minnesota Press, 1996.
Daston, Lorraine and Katharine Park, “Unnatural Conceptions: The Study of
Monsters in Sixteenth- and Seventeenth-Century France and England.” Past
& Present 91, no. 1 (1981): 20-54.
Foucault, Michel. Die Anormalen: Vorlesungen am Collège de France (1974–
1975). Frankfurt a. M.: Suhrkamp, 2007.
Gebhard, Gunther, Oliver Geisler, and Steffen Schröter. “Einleitung.” In: Von
Monstern und Menschen: Begegnungen der anderen Art in
kulturwissenschaftlicher Perspektive, eds. Gunther Gebhard, Oliver Geisler,
and Steffen Schröter, 9-30. Bielefeld: Transcript, 2009.
Germann, Lukas. “Die Monstrosität des Realen — Filmische Bilder der Gewalt
und ihre Ästhetik.” In: Von Monstern und Menschen: Begegnungen der
anderen Art in kulturwissenschaftlicher Perspektive, eds. Gunther Gebhard,
Oliver Geisler, and Steffen Schröter, 153-172. Bielefeld: Transcript, 2009.
Grady, Frank. “Vampire Culture.” In: Monster Theory: Reading Culture, ed.
Jeffrey Jerome Cohen, 225-241. Minneapolis, MN: University of Minnesota
Press, 1996.
Groenke, Susan Lee and Michelle Youngquist. “Are We Postmodern Yet?
Reading "Monster" With 21st-century Ninth Graders.” Journal of Adolescent
& Adult Literacy 54, no. 7 (2011): 505-513.
Halberstam, Judith (Jack). Skin Shows: Gothic Horror and the Technology of
Monsters. Durham, NC: Duke University Press, 1995.
Hurley, Kelly. The Gothic Body: Sexuality, Materialism and Generation at the
fin de siècle. Cambridge: Cambridge University Press, 1996.
Hutchison, Sharla and Rebecca A. Brown. “Introduction.” In: Monsters and
Monstrosity from the Fin de Siècle to the Millennium: New Essays, eds. Sharla
Hutchison and Rebecca A. Brown, 1-10. Jefferson, NC: McFarland, 2015.
Kirk, Terry. “Monumental Monstrosity, Monstrous Monumentally.” Perspecta
40, Monster (2008): 6-15.
Knöppler, Christian. The Monster Always Returns: American Horror Films and
Their Remakes. Bielefeld: Transcript, 2017.
Malchow, Howard L. “Frankenstein’s Monster and Images of Race in
Nineteenth-Century Britain.” Past & Present 139 (1993): 90-130.
Mendel, Iris and Nora Ruck. “Das Monster als verkörperte Differenz in der
Moderne: De-Montrationen feminisitscher Wissenschaftskritik.” In: Von
Monstern und Menschen: Begegnungen der anderen Art in
kulturwissenschaftlicher Perspektive, eds. Gunther Gebhard, Oliver Geisler,
and Steffen Schröter, 117-136. Bielefeld: Transcript, 2009.
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Contributors
Simon Bacon is an Independent Scholar based in Poznan, Poland. He has
edited books on various subjects including Undead Memory: Vampires and
Human Memory in Popular Culture (2014), and Growing Up with Vampires:
Essays on the Undead in Children’s Media (2018) both with Katarzyna Bronk,
and edited Gothic: A Reader (2018), and Horror: A Companion (2019). He has
published two monographs, Becoming Vampire: Difference and the Vampire in
Popular Culture (2016), and Dracula as Absolute Other: The Troubling and
Distracting Specter of Stoker’s Vampire on Screen (2019), and is currently
working on his third, Eco-Vampires: The Vampire as Environmentalist and
Undead Eco-activist.
Verena Bernardi is a postdoctoral researcher in the Department of English and
American Studies at Saarland University, Germany. She holds a PhD in North
American Cultural Studies and is the author of Us versus Them, or We? Post-2000
Vampiric Reflections of Family, Home and Hospitality in True Blood and The
Originals. Her research interests lie in Vampire Studies, Television Studies,
Cultural Studies (North America), and Southern Regionalism (Louisiana).
Octavia Cade is a New Zealand writer with a PhD in science communication.
Her stories have appeared in a number of venues, including Asimov's,
Clarkesworld, and Cosmos. Academic work on speculative fiction has appeared
in Horror Studies, Scandinavica, and the BFS Journal, and she is the author of
the award-winning collection Food and Horror, which looks at the use and
manipulation of food in aspects of the genre from fairy tales to monster movies.
Jessica Doble is a PhD candidate at the University of Louisiana at Lafayette.
Her current project, titled “Reading, Community and the Politics of Authority:
Fanfiction of Popular Media,” focuses on digital media and the reception of
popular texts in the context of community. Her work has been published in a
special issue on Jesmyn Ward’s work in the Xavier Review. She expects to
graduate in 2020.
Stephanie M. Flint is a doctoral candidate in comparative studies at Florida
Atlantic University, where she teaches courses in English literature and
interdisciplinary studies. Her research focuses on representations of
274
Contributors
monstrosity in literature, film and popular culture, particularly in relation to
gender and disability studies.
Frank Jacob is a professor of Global History (19th and 20th centuries) at Nord
Universitet, Norway. Holding a PhD in Japanese Studies from Erlangen
University (Germany), he also published, next to several books and articles in
history, works on Japanese literature and film.
Almudena Nido is currently working at Isabel I University (Spain), teaching in
the Department of Modern Languages and Social Sciences. After completing
her PhD thesis at University of Oviedo she has published articles about the
Anglo-Saxon epic poem Beowulf and the interactions of power and resistance.
Her current research and scholarship reflect an interest in investigating the
depictions and interpretations of the female monster.
Kendra R. Parker, author of She Bites Back: Black Female Vampires in African
American Women’s Novels, 1977-2011 (Lexington 2018), is an Assistant
Professor of English in the Department of Literature at Georgia Southern
University-Armstrong.
Tatiana Prorokova is a postdoctoral researcher at the Department of English
and American Studies, University of Vienna, Austria. Her current project
examines representations of the environment and climate change in fiction
since the Industrial Revolution. She holds a PhD in American Studies from the
University of Marburg, Germany. She was an Ebeling Fellow at the American
Antiquarian Society (2018) and a Visiting Scholar at the University of South
Alabama, USA (2016). She is the coeditor of Cultures of War in Graphic Novels:
Violence, Trauma, and Memory (Rutgers University Press, 2018).
Svetlana Seibel is currently a postdoctoral researcher and lecturer at the
department of North American Literary and Cultural Studies at Saarland
University, Germany. Her research interests include Indigenous popular
culture in North America, genre fiction, literatures of the Pacific Northwest,
TV Studies, and Vampire Studies.
Ryan Whittington is a PhD candidate in historical musicology at Florida State
University. His research seeks to understand difference and otherness in
cultural history by using music and monsters as the primary artifacts. He
Contributors
275
possesses Bachelor of Arts degrees in music and German from Wake Forest
University and a Master of Music degree in historical musicology from Florida
State University. The research for this book chapter began as his master’s
thesis. His current research engages with music and monstrosity in
composers’ adaptations of Shakespeare’s The Tempest.
Index
A
Abbott and Costello meet
Frankenstein 25
Abbott, Bud 25
Academy Award 129
Addams, Morticia 25
Amenábar, Alejandro vii
America 27, 29, 32, 33, 36, 41, 58,
59, 81, 212, 228
American Horror Story 88, 89, 91
An American Werewolf in London
129, 136
Asian or Afro-Caribbean
immigrant identity 40
Auerbach, Nina 45, 188
B
Baker, Rick 129
Bakhtin, Mikhail viii
Baring-Gould, Sabine 128, 129,
134
Bauman, Richard 3
BBC 35
Beaugrand, Honoré 130
Bending Over Backwards:
Disability, Dismodernism, and
other Difficult Positions 87
Beowulf 98, 99, 101, 102, 103, 104,
108, 109, 111, 112, 113, 114, 115,
116, 117, 118, 119, 120, 121, 122,
123
Beowulf & Grendel 115
Beowulf: Return to the Shieldlands
118
Bitten by Twilight: Youth Culture,
Media, and the Vampire
Franchise 167
Black female vampires xiv, 161,
162, 164, 165, 167, 175, 181, 182
Black Skin, White Masks 38
black vampires 167, 181
Blade 161, 164, 167
Bogden, Robert 86
Boylen, Andrew 26
Briggs, Charles L. 3, 4, 6
Brown, Rebecca A. ix
Browning, Tod xiv, 24, 25, 27, 28,
29, 71, 72, 73, 74, 75, 76, 77, 78,
79, 80, 81, 82, 83, 84, 85, 86, 87,
89, 90, 92, 93
Bunnicula: A Rabbit-Tale of
Mystery 23, 29, 30, 31, 32, 35, 38,
39, 40
Butler, Christopher 49, 51
Byronic patriarchal monster 188
C
Carmilla 53, 191, 269
Carroll, John 51, 52, 53, 54, 55, 56
Ceaușescu, Nicolae 28
children’s books 23, 29, 31, 39
children’s culture 27
Children of the Night 33
Chopra, Deepak 67
Christianity 9, 11, 49, 173
Cohen, Jerome xi, xii, 188, 189,
192, 193, 268
Cold War 24, 25, 28, 32, 33, 34, 40,
214, 217, 226, 229, 231, 234, 235
Columbo, Enzo 40
Corpus Juris Civilis 64
Index
278
Costello, Lou 25, 27
Craven, Wes 161, 164, 165, 182
Crichton, Michael 104, 105
cultural assimilation 37, 174
cultural milieu 48, 52
Cushing, Peter 26
D
Daemonologie 2, 3, 7
Dark Carnival: The Secret World of
Tod Browning 74, 75
Dark Harvest 47
Dark Shadows 26
Dawn of the Dead 148
Day, William Partick 47
demon 5, 7, 16, 21, 111, 151, 226,
260
Department of Health and Social
Services (DHSS) 36
Device, Alizon 10, 18, 19
Disability Studies 10, 74, 79, 86, 87
Dracula 24, 25, 26, 27, 29, 30, 32,
34, 39, 41, 54, 165, 269
Dracula 24, 27, 28, 29, 41, 53, 72,
77, 165, 191, 241, 264, 269
Dracula A.D. 1972 26
E
Eaters of the Dead 104
Enlightenment 52, 53, 55, 57, 58,
59, 60, 249
Europe viii, 27, 32, 33, 40, 55, 177,
265, 269
Extraordinary Bodies 79, 86
F
Fanon, Frantz 38
Fitzgerald, F. Scott 76
Fleischer, Ruben 148
Foucault, Michel v
Frankenstein 72, 77, 248, 269
Frankenstein’s monster v, vi, 24,
25
Freakery 86, 92
Freaks xiv, 71, 72, 73, 74, 75, 76, 77,
78, 79, 80, 81, 82, 83, 84, 85, 86,
87, 88, 89, 90, 91, 92, 93
Freak Show: Presenting Human
Oddities for Amusement and
Profit 73, 77, 86, 88
Freak Studies 74, 86, 87
Freud, Sigmund 8
“friendlification” 25
G
Gabriel, John 35
Garland-Thomson, Rosalind 6, 7,
79, 86, 87
Gender 1, 3, 5, 10, 11, 14, 15, 16,
20, 27, 89, 90, 93, 98, 119, 148,
159, 162, 163, 166, 167, 168, 172,
182, 188, 192, 199, 207, 208
gender-based violence 91
Godzilla vii, xiv, 211, 212, 213, 214,
215, 217, 218, 219, 220, 222, 223,
224, 225, 226, 227, 228, 229, 230,
231, 232, 233, 234, 235, 236, 237,
238, 239, 240, 241, 242
Godzilla 212, 213, 214, 215, 216,
217, 219, 221, 222, 223, 224, 225,
226, 227, 228, 229, 230, 232, 233,
234, 235, 237, 239, 240, 241, 242,
244
Godzilla: King of Monsters 212,
213, 244
Godzilla vs. Biollante 215, 237,
238, 239, 244
Godzilla vs. King Ghidorah 215,
239, 240, 244
Index
279
Godzilla vs. Mechagodzilla 215,
235, 236, 237, 244
Good Friday 11
Grady, Frank vi
Grendel xiv, 97, 98, 99, 100, 101,
102, 103, 104, 105, 106, 107, 108,
109, 110, 111, 112, 113, 114, 115,
116, 117, 118, 119, 120, 121, 122,
123
Gruesome and Bloodsocks 36, 37,
40
Imagination ix, 2, 5, 25, 26, 46, 132,
249, 250, 269
Interview with the Vampire 31, 36,
45, 46, 47, 188, 189, 194, 201,
203, 208
Invasion Of The Body Snatchers 25
It Came From Outer Space 25
iZombie xiv, 147, 148, 152, 153,
156, 157, 158, 159
H
James I of England 2
Japan 211, 212, 213, 214, 215, 216,
218, 219, 220, 222, 223, 226, 227,
228, 229, 230, 231, 232, 233, 234,
235, 237, 238, 239, 240, 241, 242
Jesuit 1, 6, 18, 20
Jim Crow 163
Jones, Ann Rosalind 14
Jungman, Ann 32
Jurassic Park vi
Justinian, Roman Emperor 64
Halperin, Victor 147,
Hammer studio 26
Hausmannin, Walpurga 5
Herzogenrath, Bernd 72, 73, 74,
77, 81
Hilburn, Lynda 47
Hirohito, Emperor of Japan 212
historical narrative 2, 20
Hobbit 118
Holiday, Jane 36
Hollywood vii, 73, 90, 92, 93, 182,
213
Holmes, Oliver Wendell 79
Honda, Ishirō 222, 223, 225
horror cinema 82
horror film vii, 27, 82, 132, 164,
166, 219, 251
Horror of Dracula 26
Howe, Deborah 29, 31
Howe, James 29, 31
Hufford, David 4
Humanism 48, 49, 51, 52, 58, 60
Hutchison, Sharla ix, x
I
Ibn Fadlan, Ahmad 104, 105, 106,
107
J
K
kaijū eiga 215, 224
Kayama, Shigeru 222
King Kong vii, 241, 244
King Kong (1933) vi, 221, 222, 226
Kirk, Terry viii
Kostova, Elizabeth 33
Kouri, Kristyan M. 27
Kristeva, Julia 9, 19
Kuhling, Carmen 49
L
Lancashire, England 1, 4
Lee, Christopher 26, 180
Le Fanu, Sheridan 53, 191, 269
Index
280
Le Vampire 246, 247, 252, 253, 257,
260, 261, 262, 263, 264, 265
LGBTQ community 163
Lockhart, Hannah 21
Lord of the Rings 97, 118
Love at First Bite 28, 29, 33
Lucky Dragon V Incident 220
Lugosi, Bela (Bella) 25, 27, 28, 180,
269
New Age movement 48
New York Times 80, 81, 212, 225,
245
Night of the Living Dead 148
Nodier, Charles 246, 247, 252, 257,
259, 268
Nowell, Roger 5, 11, 12, 13, 14, 16
Nutter, Alice 1, 5, 6, 11, 12, 19, 20
O
M
Malchow, Howard L. vi
Martin 29
Mayer, Louis B. 76, 80
McKee Charnas, Suzy 47, 191
mental illness 5, 133, 134, 135
Meteling, Arno vii
Metro-Goldwyn-Mayer (MGM) 72,
76, 78, 80, 81, 82, 92
Miller, Jeffrey S. 25
misinterpretation of reality 5
Monastery of the Cave 61, 62
Mongols 62
monstrosity vi, vii, viii, x, xi, xiii,
xiv, 20, 47, 71, 72, 73, 74, 76, 77,
91, 93, 98, 99, 103, 105, 108, 109,
112, 115, 119, 121, 122, 123, 134,
135, 148, 151, 152, 182, 189, 191,
211, 232, 234, 248, 250, 268, 274,
275
monstrousness 15, 19, 102, 119
Motion Picture Daily 80
Mummy 24
Munsey’s Magazine 75
N
Nakata, Hideo vii
National Association of
Evangelicals 33
NATO 33
On the Nightmare 24
“otherness” 5, 6, 7, 40
Outlander 115, 122
P
patriarchal society 5, 7, 14, 20
Partridge, Christopher 48, 51, 52,
53, 54
Pearson, Margaret 17
Peeper, Tom 8, 11, 12, 13, 15, 16,
17
Pendle Hill Witch 1
Planché, James Robinson 246, 247,
250, 252, 255, 258, 265, 267, 268,
270
Polidori, John 245, 246, 247, 248,
249, 264, 267, 268, 269
Poole, Robert 4
Poole, W. Scott 24
popular culture 19, 23, 27, 45, 52,
53, 72, 87, 88, 98, 143, 147, 162,
164, 211, 212, 213, 214, 215, 241,
245
popular media ix, x, xiii, xiv, 241
postmodernism 49, 51, 52
Powell, Enoch 35
primitive natures 8
Protestantism 2, 3
Index
281
Q
Queen of the Damned 161, 164,
165
Quinn Yarbro, Chelsea 46, 47
R
Rashōmon 212, 216
Reagan, Ronald 33, 36
red-eyed vampirism 174
Redfern, Nancy 18, 19
Renaissance man 55, 56, 68
Rice, Anne vi, xiii, 31, 36, 45, 46,
47, 48, 54, 55, 188, 194, 269
Richards, Evelleen v
Richie, Donald 212
Robbins, Tod 72, 75, 91
Romania 28, 33, 34
Romero, George A. 148, 151, 152
S
Savada, Elias 73, 75, 79, 83, 85, 86
Scandinavian lore 115
Seabrook, William 147
semiotics x, 235
Senn, Bryan 127
Sesame Street 27, 28
Seven Samurai 216
sex with the Devil 6
Sharpe, James 4
Shelley, Mary vi, 248, 269
Shyamalan, Manoj “Night” vii
silent film 82, 130
Simmon, Dan 33
Skal, David J. 73, 74, 75, 76, 79, 82,
83, 85, 86
soap opera 26
sound era 82
Soviet Union 24, 32, 33, 40, 234
Stephens, Walter 5
stigma 7
Stoker, Bram 24, 26, 30, 41, 53, 54,
165, 191, 264
Summers, Montague 24
Superhero film 97
T
Tanaka, Tomoyuki 219, 220, 221,
222, 238
Tatars 62
The 13th Warrior 104, 106, 108,
109, 110
The Addams Family 25, 26
The Beast from 20,000 Fathoms
217, 221, 231
The Book of Werewolves 128
The Daylight Gate xiii, 1, 3, 6, 9,
10, 14, 16, 20, 21
The Historian 33
The Hunchback of Notre Dame 77
Them 214, 245
The Magic Island 147
The Monster Show: A Cultural
History of Horror 76
The Munsters 25
The Originals xiv, 162, 187, 188,
189, 190, 191, 194, 200, 202, 204,
206, 207, 208
Theorizing Twilight: Essays on
What’s at Stake in a PostVampire World 167
The Phantom of the Opera 77
The Twilight Saga 31, 161, 162,
165, 167, 168, 169, 173, 180, 182,
193
The Vampire Armand 45, 48, 50,
52, 54, 55, 62, 68, 69
The Vampire Chronicles 31, 48, 50,
55, 62, 68
The Vampire Diaries 162, 189, 190,
193, 200, 204
Index
282
The Vampire Lestat 269
The Vampire; or, The Bride of the
Isles 246, 247, 250, 253, 257, 258,
265, 266, 267
The Vampyre 245, 248, 249, 267
The Walking Dead 148
The Werewolf 127, 128, 130
The Werewolf Filmography 127
The Wolfman 129, 135
time-space continuum v, vi, xi, xii
Tōhō 214, 216, 219, 220, 222, 228,
234
Tolkien, J.R.R. 101, 102, 103, 118,
121
“tradition of disbelief” 4, 5, 8, 10
Transylvania 28, 29, 30, 32, 33, 35,
39, 180
True Blood 162, 189, 190, 193, 204,
207, 208
Trumpington 36, 40
Tsutsui, William 212, 214, 219, 220,
222, 229
Twilight: Breaking Dawn Part 2 xiv
U
uncanny 2, 8, 9, 10, 13, 14, 15, 17,
19, 20, 72, 100, 105, 108, 113,
250
Underworld 142, 143, 161, 162
Universal Pictures 131, 132
V
Vampire in Brooklyn 161, 164, 165,
182
vampire novel xiii, 46, 47, 245
vampirism 31, 56, 134, 163, 167,
172, 173, 174
Van Helsing 26, 30
Vikings 104, 105
Vilification 33, 167, 168, 171, 174
Vlad the Drac 23, 32, 34, 35, 36, 37
W
Waller, Gregory A. 46
Warm Bodies 152, 153, 154, 155,
156, 158, 159
Warner Brothers 161, 221
Webb, Kenneth 147
Werewolf of London 130, 131, 132,
134, 139, 141
White Zombie 147
Winterson, Jeanette xiii, 1, 2, 10,
13, 17, 21
witchcraft 1, 2, 3, 4, 5, 6, 7, 8, 9, 11,
14, 15, 17, 19, 20
Wolf Man 24, 25, 131, 132, 133,
134, 139, 143
“womanness” 6, 8, 9
World War II 24, 27, 139, 143, 219
Wray, Fay vii
X
xenophobia 32
Z
Zombie 147
zombie film 147, 148, 149, 150,
151, 156, 159
Zombieland 148