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Introduction: Migrations and Mutations
- Dale Hudson
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- Book:
- Vampires, Race, and Transnational Hollywoods
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- Edinburgh University Press
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- 10 January 2018
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- 18 May 2017, pp 1-20
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Summary
A defining feature of vampires is their ability to mutate and migrate. Evoking the black-and-white mise-en-scène of classical Hollywood, Ana Lily Amirpour's A Girl Walks Home Alone at Night (2014) introduced a female vampire who rides a skateboard in hijab. The vampire's chador rejects typical post-9/11 suspicions about Muslims, racialized by their clothing. Instead, it shields her from unwanted attention of predatory human men. The film self-consciously references the visual ambiance of Hollywood's first vampire films, Universal Pictures’ Dracula (1931) and Drácula (1931), but marks a different historical moment and cultural politics. Count Dracula and Conde Drácula's flowing black capes may have seemed foreign to audiences during the 1930s, but the open black chador of Amirpour's vampire is relatively familiar today, if sometimes reductively as a sign of patriarchal oppression or foreign menace. Amirpour reworks Hollywood conventions of male vampires, attacking female victims, into a feminist vampire, protecting women. Marshaling the chador's power against male terrors of the night—and a skateboard for enhanced female mobility, Amirpour's vampire also subverts conventional thinking about difference and belonging, guiding us through worlds that have always folded into one another.
Vampires may be historically rooted in eastern European folklore, but their progeny proliferates unbound. They mutate and migrate between melodrama, romance, horror, comedy, soap opera, and science fiction. They adapt freely to codes and conventions as diverse as Latin American lucha libre and tel¬enovela, South Asian masala, East Asian wuxia and anime, and industrial contexts as different as Hollywood, Lollywood, Bollywood, Nollywood, and Hallyuwood. Our fascination with vampires is undying; their popu¬larity, inexhaustible. Since vampires are diverse and unruly as a category, vampire media is sometimes dismissed as having little to say. Vampires, Race, and Transnational Hollywoods argues that vampires have something to say precisely because they are so diverse and unruly as a category. The book proposes that vampire films and series constitute a different way of understanding Hollywood by investigating two twinned trajectories in the context of production, distribution, and exhibition: what vampire films and series depict on the screen, and how they produce affect in audiences that ranges from affiliation and empathy to repulsion and suspicion. Vampires allow us to refocus on Hollywood as plural, US history as transnational, and race as having afterlives. The vampire's figurative and discursive significance addresses ongoing debates that are not always addressed in more realist modes.
6 - Terrorist Vampires: Religious Heritage or Planetary Advocacy
- Dale Hudson
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- Book:
- Vampires, Race, and Transnational Hollywoods
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- Edinburgh University Press
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- 10 January 2018
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- 18 May 2017, pp 163-192
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Summary
If multiculturalism opened understanding to historical consciousness that included slavery, genocide, and dispossession—“everything we are is eternally with us,” as Kathleen observes in The Addiction, then neoliberalism obscures connections between past and present. Formalized through institutions like NAFTA (1994–present) and WTO (1995–present), neoliberalism rejects the Cold War's other options for capitalism alone. Hollywood was integrated into larger corporations, which contained costs by repurposing content and off-shoring production (Miller et al. 2005). Franchises like Harry Potter (2001–11) and Lord of the Rings (2001–3) convey how Hollywood financed, produced, distributed, and exhibited fewer films with larger budgets, combin¬ing blockbuster's saturated advertising and high concept (Wyatt 1994) with classical Hollywood's economies of scale (Schatz 1996). Hollywood became transnational with its studios owned by corporations based in Australia, Europe, and Japan. Hollywood production of vampire franchises mutates and migrates—Blade from Los Angeles to the Czech Republic and British Columbia; Underworld from Hungary to Canada to New Zealand—for cheaper labor.
Vampires also migrate and mutate across media platforms, infiltrating film, television, video games, and web series. Teen vampires became ubiquitous. Twilight and The Vampire Diaries moved from novels to screen. A spinoff of the latter, The Originals, moved from television to novels. All experimented to enhance audience engagement with web series. Disparaged by horror fans, teen vampires capture the imagination of a millennial generation. No longer menacing neighbors but instead intimate schoolmates, vampires are normal¬ized as native-born citizens. Within a cultural shift from multiculturalism's mutual contaminations to neoliberalism's hierarchical segregations, vam¬pirism less frequently conveys how difference in race/ethnicity might alter the composition of an imagined US nation. Instead, vampirism conveys how difference in species—often as a trope for religion or economics—might save or destroy the entire world.
Given neoliberalism's dehumanizing processes, vampires sometimes become advocates for human right to rights. Vampire hunters, by contrast, think in anthropocentric terms. Battlegrounds are fragmented and extraterritorial, as during the Cold War, yet they are increasingly privatized in for-profit vigi¬lantism. Neoliberalism masks racial/ethnic profiling as national security and risk assessment. Enemies are considered terrorists to be eradicated, as slayers execute vampires. More than other groups, women—particularly, cisgender counterparts to Lorde's mythical norm (1984: 118)—benefit under post-multicultural neoliberalism.
Frontmatter
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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Contents
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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Acknowledgments
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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Filmography
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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- 18 May 2017, pp 240-244
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3 - Classical Hollywood Vampires: The Unnatural Whiteness of America
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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- 18 May 2017, pp 68-99
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Summary
Universal Pictures’ All Quiet on the Western Front (USA 1930; dir. Lewis Milestone) won an Oscar for Best Picture but cost four times as much and required twice as long to produce as Dracula (USA 1931; dir. Tod Browning), prompting the studio to redefine itself as a producer of monster movies (Schatz 1996: 82–97). In classical Hollywood, genre conventions were informed by financial and marketing decisions (Altman 1999: 15–16). Studio head Carl Laemmle Jr. envisioned Dracula and its Spanish-language counterpart Drácula (USA 1931; dir. George Melford) as launching a series of monster movies but was concerned about censorship under the new Production Code. A conse¬quence of primacy of business decisions is our critical habit of thinking about classical Hollywood vampire films primarily according to genre. The English-and Spanish-language versions of Dracula establish cinematic conventions and audience expectations for vampires, not as monsters but as immigrants with foreign accents, antiquated customs, and dangerous seductiveness. The films drew upon segregation comedies, assimilation romances, and miscegenation melodramas, discussed in the previous chapter. Genre was actually as fluid as the shape-shifting figure of the vampire. On loan from MGM, director Tod Browning wanted to minimize associations with horror. Billed as “The Strangest Love Story Ever Told,” Dracula's scenes of vampires’ elongated fangs penetrating male and female necks, of vampire hunters driving wooden stakes through vampires’ hearts, and even of the vampire's full body emerging from his coffin in the English-language version were suggested but not visual-ized. Publicity photos were more suggestive of the vampire's fangs penetrating a female neck than scenes in the films. Dracula opened on 12 February 1931 at New York's Roxy Theatre with a pre-screening fanfare that included the high-kicking Roxyettes. The choice to première on a Thursday, rather than a Friday, allegedly avoided inauspicious associations with Friday the 13th. Promoted as mystery rather than horror, the film's release close to Valentine's Day invited associations with passion and romance. Count Dracula carried the limp bodies of his female victims into his crypt, reproducing images of Valentino's Sheik Ahmed carrying the limp body of his female conquest into his tent.
5 - Vampires of Color: A Critique of Multicultural Whiteness
- Dale Hudson
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- Book:
- Vampires, Race, and Transnational Hollywoods
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- Edinburgh University Press
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- 10 January 2018
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- 18 May 2017, pp 134-162
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Summary
National debates on immigration often replicate Hollywood's childlike vision of the world, ignoring the fact that not all immigration to the United States was voluntary. In AIP's Blacula (USA 1972; dir. William Crain), figurative slavery of Satanism from Hammer's films is reworked as actual slavery of the Middle Passage and enduring slavery of institutionalized racism in con¬temporary Los Angeles. Set in Transylvania during 1780, Blacula opens with African prince Mamuwalde (William Marshall), requesting Count Dracula (Charles McCauley) end Europe's slave trade. Count Dracula refuses, enslaves Mamuwalde with an insatiable thirst for human blood, and locks him in a coffin outside of which he leaves Mamuwalde's wife Luva (Vonetta McGee) to die. The sensational story redirects attention from US racism to eastern Europe's so-called backwardness and fall to Communism. The film acknowl¬edges chattel slavery as part of US history. Mamuwalde is renamed Blacula, carrying two markers of racialization: ownership and color. Not inheriting an aristocratic title, he becomes Blacula, and not Count Blacula. He is sold as the property of Count Dracula's estate. His involuntary immigration as cargo evokes the colonial connection between immigration and commerce in the transatlantic slave trade. By contrast, Count Dracula becomes legend—“la crème de la crème of camp,” in the words of a queer-identified antiques seller. Blacula conveys how afterlives of race encumber Mamuwalde's assimilation in ways about which Count Dracula remains unaware.
In addition to foreign immigrants, Los Angeles is marked by the second Middle Passage, the exportation of millions of African-descended slaves from the Old South to the Deep South and West between 1790 and 1860. As late as the 1950s and 1960s, African Americans were considered “immigrants from the South,” requiring assimilation to the North (Omi and Winant 1994: 19). Blacula performs a type of historiography. With 10 per cent of the US population descended from African slaves, fictionalized and semi-fictionalized histories satisfy a hunger for black history because substantive primary docu¬ments are often nonexistent. Blacula recovers a violent and inhumane moment, erased in pre-Civil Rights comedies like I'm No Angel (USA 1933; dir. Wesley Ruggles) and Just Around the Corner (USA 1938; dir. Irving Cummings), with Gertrude Howard and Bill “Bojangles” Robinson in stereotyped supporting roles. Like Christopher Lee in Hammer's films, Marshall portrays the vampire as soft-spoken, articulate, dignified, and polite.
4 - International Hollywood Vampires: Cosmopolitanisms of “Foreign Movies”
- Dale Hudson
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- Book:
- Vampires, Race, and Transnational Hollywoods
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- Edinburgh University Press
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- 10 January 2018
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- 18 May 2017, pp 100-133
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Summary
During the 1960s and 1970s, Hammer's vampire films redefined not only the transgenre but also British film and Hollywood. Shot on color film stock and accompanied by full orchestral scores, the films rejuvenated vampire stories with new vitality and heightened emotion. Color was employed as an expressive mode. Camera movement was relatively fixed yet punctuated by rapid pans, tilts, and zooms to establish conventions that reappeared for decades. “Hammer vampires and other monsters are not segregated in the black-and-white gloom of 1930s America” (1995: 120), explains Auerbach, but inhabit worlds of “cheerful semi-pornographic opulence” (56). Composer James Bernard's three-note “DRAC-u-la motif,” balanced by “an emotion¬ally weaker motif representing Van Helsing and the ‘good’ people on which [Count] Dracula preys” (Larson 1996: 23), staged an acoustic battle along-side the visual one. The figure of the vampire hunter sometimes eclipsed the figure of the vampire, notably in Captain Kronos, Vampire Hunter (UK 1972; dir. Brian Clemens), as an object of desire for audiences. Hammer's formula is most associated with Christopher Lee's reinvention of Count Dracula in Horror of Dracula (UK 1958; dir. Terence Fisher) and its sequels, along with Peter Cushing's reinvention of Professor van Helsing. The films emerged on US screens as the Production Code, banning unpunished sex, violence, and miscegenation, came to a close. Hollywood partly moved production overseas to make films whose content would have been impossible in the United States.
Shot in British studios by British filmmakers, working for a British company and using predominantly British casts, Hammer's films seemed “to represent something intrinsically and culturally British” (Porter 1983: 179), suggesting why the films have not often featured in analysis of transnational Hollywood. Hammer's dominance of the international horror market was attributed to the studio's creation of an “English Gothic” (Pirie 1977: 77), a style that not only implies comparison with Hollywood but also was sometimes financed by Hollywood. Universal's Hollywood Gothic established conventions for dark, cavernous settings, replete with gigantic spider webs and rubber bats along with live armadillos, opossums, and scorpions, and coy cut-away shots to hide all physical contact between humans and vampires. Hammer's English Gothic established new conventions, evident in the generous depictions of partial nudity and copious amounts of bright red blood that drips and splashes.
Index
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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1 - Blood, Bodies, and Borders
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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Summary
Ana Lily Amirpour's black-and-white A Girl Walks Home Alone at Night seduced audiences with a skateboard-riding, feminist hijabi vampire. It reimagined the socially and emotionally isolated female vampires in classical Hollywood's Dracula's Daughter and later art-house films, such as Michael Almereyda's Nadja and Abel Ferrara's The Addiction. Amirpour promoted her film as “the first Iranian vampire western,” playfully reworking national and generic assumptions. She purposefully confuses and deliberately fuses spaces of national histories, identities, and geographies into transnational ones. She challenges nationalist certainties within the political theatrics by US and Iranian leaders, which extend from the US-backed Pahlavi monarchy (1925– 79) through the Iranian Revolution and hostage crisis (1979–81) into political disagreements between Iranian president Mahmoud Ahmadinejad (2005–13) and US president George W. Bush (2001–9) over nuclear programs that resur¬face today in debates on lifting the US trade embargo and normalizing rela¬tionships. A Girl Walks Home Alone at Night asks us to think about—and to feel—what it is like to inhabit this history across space. Amirpour's film does not tell the story of a vampire, who migrates from one place to another, infect¬ing humans with vampirism, so they mutate into vampires. Instead, she tells a story of a world that has mutated due to human migrations, where things might not be what they appear—and where systems of human relations may themselves be vampire-like. Vampires appear where histories meet.
Like classical Hollywood's first vampire films, Amirpour's film raises ques¬tions about immigration and belonging through motifs of blood, bodies, and borders. These motifs can be traced both to literary sources, such as Bram Stoker's novel Dracula (1897), and to cinematic ones, such as early films on immigration and assimilation. The figure of the vampire accumulates meaning, as it moves from folklore and literature to theatrical stage and cinematic screen. Supernatural qualities in vampire stories allow social assumptions to find overt expression, whereas other kinds of stories demand that they remain hidden in covert agendas. Vampire hunters murder vampires—and are seldom arrested. Although scenes of violence, sexuality, and interspecies coupling were discreetly hidden behind the vampire's black cape—yet exploited in stills for advertising and promotion—Béla Lugosi's portrayal of Count Dracula excited imaginations with his sexually predatory and socially destabilizing sugges¬tiveness in Dracula.
2 - “Making” Americans from Foreigners
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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Summary
Universal Studio's 1931 release of multiple-language versions of Dracula consolidated and popularized Hollywood vampires as aristocratic, cosmo¬politan, and humanized. Hungarian-born actor Béla Lugosi's accented per¬formance of Count Dracula in the English-language Dracula embodied Hollywood's idea of the vampire for decades. Even Spanish-born actor Carlos Villarías was allegedly directed to model his portrayal of Conde Drácula in the concurrently shot Spanish-language Drácula after Lugosi's performance. The iconic image of Lugosi's black cape and tuxedo, pale face, dark hair, and pierc¬ing gaze spread globally despite Universal's efforts to control unauthorized use of the costume, makeup, and even the name “Dracula” through international copyright. Hollywood rejected the model of Prana-Films’ earlier adaptation of Stoker's novel in Nosferatu. Max Schreck was rendered almost unrecognizable as a human actor under prosthetics and makeup that rendered the vampire's features like those of insects, birds, and rats, thus offering little space for pro¬jections of desires.
Universal's vampire drew more readily upon conventions from stage and screen melodramas, modeling the vampire looks and acts upon human villains, typically foreigners. The immigrant-vampire's arrival on Hollywood screens actually comes relatively late; other immigrants had already adorned it for decades. Conventions for vampires thus drew upon ones for representing immi¬grants in other earlier films, including actualities (precursors to newsreels) that belittled immigrants as amusing entertainment and industrial training and state propaganda films that recruited and assimilated select groups of immigrants. This chapter traces cinematic conventions of narrative, performance, set and costume design in pre- and early Hollywood films that offered models for suc¬cessful assimilation into the Melting Pot and so-called new race, popularized in Israel Zangwell's 1908 play. The unnatural whiteness of America was key to this social mobility. State and industrial films in particular were employed to americanize immigrants—to whiten them by teaching them what common sense allegedly told (male) citizens to do. Whiteness assimilated certain groups to create a common national identity from selected national identities. Whiteness shifts shape like the figure of the vampire. Vampires contest the racial system that privileged northeastern Europeans over eastern and southern Europeans during the early twentieth century.
Vampires, Race, and Transnational Hollywoods
- Dale Hudson
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In Vampires, Race, and Transnational Hollywoods, Dale Hudson explores the movement of transnational Hollywood’s vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa.
Conclusion: History and Hollywood, Mashed-up
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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- Edinburgh University Press
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- 10 January 2018
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- 18 May 2017, pp 229-239
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Summary
Hollywood vampire films take a digital turn, moving from heritage cinema, like Bram Stoker's Dracula, which augmented Stoker's novel with “missing” historical detail, to alternative-reality mashup of Abraham Lincoln: Vampire Hunter (USA 2012; dir. Timur Bakmambetov), which imagined a US president as a vampire hunter. Before the latter's release, Google image-searches with keywords “vampire” and “president” returned memes that layer text, such as “I vant to suck your blood,” and images, such as fangs, over images of Ronald Reagan, Bill Clinton, George W. Bush, and Barack Obama. Nonprofessional media-makers remix Hollywood conventions to express political views and contest copyright through unauthorized use. Often originating on anonymous imageboards, such as 4chan's /b/ (random content), memes replicate and spread through social networks. They range from apolitical (if anthropo¬centric) entertainment, such as LOLcats, to incendiary political statements. Comparably, video mashups recombine commercial media, allowing “canons” or “parent products” (i.e., commercial media) to give birth to new media. Video mashups transform meaning by speculating alternative scenarios. They extend classical Hollywood's monster mashes, which imagined encounters between Count Dracula, Wolfman, and Frankenstein's Monster, but they use found footage, more in the traditions of compilation films, such as Joseph Cornell's Rose Hobart (1936), Bruce Conner's A Movie (1958), and Kenneth Anger's Scorpio Rising (1964) that foreground creativity through editing, not writing or filming. Originality in recombination overshadows originality of content.
Memes and mashups are part of a broader transformation of media. Do-it-yourself (DIY) aesthetics and peer-to-peer (P2P) file sharing are possible on laptops equipped with preinstalled internet browsers and nonlinear editing and imaging software. Consumer-grade programs allow images to be manipulated. Fans rip files from DVDs or download them via BitTorrents. “Fan culture,” explains Henry Jenkins, “stands as an open challenge to the ‘naturalness’ and desirability of dominant cultural hierarchies, a refusal of authorial author¬ity and a violation of intellectual property” (1992: 18). Memes on /b/ are automatically deleted within weeks, as imageboards accumulate new content, though they often migrate to social-media platforms and blogs, where they remain. They are part of new media ecologies defined by “spreadability” of potential dispersal rather than “stickiness” of centralized aggregation (Jenkins et al. 2013).
Bibliography
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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List of Illustrations
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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7 - Other Vampires, Other Hollywoods: Serialized Citizenship and Narrowcast Difference
- Dale Hudson
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- Vampires, Race, and Transnational Hollywoods
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- Edinburgh University Press
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- 10 January 2018
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- 18 May 2017, pp 193-228
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Summary
Mythologized as film's competition, television is more accurately the “other Hollywood.” With its volume of production, Vancouver is “Hollywood North.” Other Hollywoods produce other vampires, offering other perspec¬tives. Production migrates from California to Georgia, Louisiana, Ontario, Texas, and Europe. Off-siting production—and masquerading locations—is nothing new, nor is Hollywood television production. Classical Hollywood film studios partnered with television networks decades before industry deregu¬lation integrated them into media corporations. Big Three broadcasters—CBS, NBC, and ABC—began filming programming in 1949 and rented production facilities from film studios. Disney became the first studio to produce television in 1954. Conceived as a cable network for feature films, HBO re-energized scripted television. Its True Blood uses vampires to engage debates on the right to rights with a complexity not possible in feature filmmaking, underscoring how other Hollywoods offer us other perspectives.
Television engages national dialogues and changes thinking across gen¬erations. Benedict Anderson argued that citizenship is bound serially to states with each citizen provisionally standing for all others (1983: 184). He looked to newspapers as mechanisms that create imagined communities. Theoretically, each citizen receives the same news, whether living in the capital or provinces, at the same time, thus constructing a national sense of commu¬nity through simultaneity of knowledge and experience of events. More than film, television fulfills this serializing effect. With live broadcast, audiences received information simultaneously. Film industries invested in hierarchical and segregated models of run-zone-clearance; television industries, in national broadcast. With narrowcasting on cable and satellite, audiences have become fragmented and subnational. Film and television share fixed scheduling; streaming and downloading allow audiences to select content from a library at their convenience.
One conventional distinction is interruptions to content in television—the “flow,” according to Raymond Williams (1974). Advertising interrupts broadcasts at predictable intervals, affecting narrative patterns for writers and audiences. Television is conventionally screened at home, among friends and families, interrupted by unrelated conversations about daily events; film is screened among strangers, interrupted by only anonymous sounds of snacking and ringing mobiles. Television narratives are open, allowing for additional seasons. They are multiple and entwined rather than singular and arced. Buffy the Vampire Slayer was an early series to adopt seasonal narrative arcs (Mittell 2010: 230).
The Ontario Neurodegenerative Disease Research Initiative (ONDRI)
- Sali M. K. Farhan, Robert Bartha, Sandra E. Black, Dale Corbett, Elizabeth Finger, Morris Freedman, Barry Greenberg, David A. Grimes, Robert A. Hegele, Chris Hudson, Peter W. Kleinstiver, Anthony E. Lang, Mario Masellis, William E. McIlroy, Paula M. McLaughlin, Manuel Montero-Odasso, David G. Munoz, Douglas P. Munoz, Stephen Strother, Richard H. Swartz, Sean Symons, Maria Carmela Tartaglia, Lorne Zinman, ONDRI Investigators, Michael J. Strong
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- Journal:
- Canadian Journal of Neurological Sciences / Volume 44 / Issue 2 / March 2017
- Published online by Cambridge University Press:
- 22 December 2016, pp. 196-202
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Because individuals develop dementia as a manifestation of neurodegenerative or neurovascular disorder, there is a need to develop reliable approaches to their identification. We are undertaking an observational study (Ontario Neurodegenerative Disease Research Initiative [ONDRI]) that includes genomics, neuroimaging, and assessments of cognition as well as language, speech, gait, retinal imaging, and eye tracking. Disorders studied include Alzheimer’s disease, amyotrophic lateral sclerosis, frontotemporal dementia, Parkinson’s disease, and vascular cognitive impairment. Data from ONDRI will be collected into the Brain-CODE database to facilitate correlative analysis. ONDRI will provide a repertoire of endophenotyped individuals that will be a unique, publicly available resource.
Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. 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Lindiwe Dovey. African Film and Literature: Adapting Violence to the Screen. New York: Columbia University Press, 2009. xviii + 334 pp. List of Film Stills. List of Abbreviations. Images. Notes. Filmography. Bibliography. Index. $89.50. Cloth. $32.50. Paper.
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