Vampires: Exploring Race and Transnational Hollywood Traditions in American Cinema

Vampires have long been an intriguing and popular element in American cinema. The presence of these immortal creatures has fascinated audiences for decades, captivating us with their seduction, mystery, and eternal existence. While vampire stories have evolved over time, the transnational Hollywood traditions associated with these films have also played a significant role in shaping their portrayal on the silver screen.

Transnational Hollywood and Its Influence

Transnational Hollywood refers to the globally dispersed production, distribution, and exhibition of films. It encompasses the influence of various cultures, industries, and markets on Hollywood filmmaking, as well as the impact of Hollywood films on international audiences. When it comes to vampire movies, this transnational influence is evident in the diverse range of vampire characters portrayed, reflecting different cultures, races, and traditions.

Vampires, Race, and Transnational Hollywoods (Traditions in American Cinema)

by Dale Hudson (1st Edition, Kindle Edition)

4.6 out of 5

Language	:	English
File size	:	2713 KB
Text-to-Speech	:	Enabled
Screen Reader	:	Supported
Enhanced typesetting	:	Enabled
Word Wise	:	Enabled
Print length	:	296 pages

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The Evolution of Vampire Films

Vampire films have come a long way since the early days of cinema. In the earlier years, vampires were predominantly portrayed as white, European aristocrats, echoing the image of Transylvanian vampire Count Dracula from Bram Stoker's legendary novel. However, as Hollywood began incorporating transnational elements into its productions, the depiction of vampires also evolved.

The breakthrough in portraying vampires of different races and ethnicities occurred with the release of the film "Blade" in 1998. Starring Wesley Snipes as the eponymous half-vampire, half-human protagonist, the movie presented a vampire narrative with a Black lead. This film challenged preconceived notions and opened the door for more diverse representations of vampires in subsequent years.

Following "Blade," other notable vampire films emerged, such as "Underworld" (2003) and "Day Watch" (2006), which showcased diverse ensembles of characters from various cultural backgrounds. These films not only broke barriers but also allowed audiences to relate to vampire narratives on a deeper level by incorporating different perspectives and experiences into these mythical creatures.

Racial Symbolism in Vampire Films

Vampire films often delve into racial symbolism, exploring social issues and representing racial tensions through their supernatural narratives. By introducing non-white vampires, these movies provide a platform to discuss topics such as discrimination, cultural identity, and representation.

For instance, the "Blacula" series, which emerged in the 1970s, dealt with issues of racial inequality, particularly focusing on the African American community. These films employed vampirism as a metaphor for racial oppression, creating a unique space for discussions on civil rights and empowerment.

More recent examples include "Only Lovers Left Alive" (2013), starring Tilda Swinton and Tom Hiddleston, and "A Girl Walks Home Alone at Night" (2014), directed by Ana Lily Amirpour. Both films explore the experiences of ethnic and cultural minorities, reflecting the complexities of identity and intertwining these themes with vampire mythology.

Transcending Borders: The Global Appeal

Vampire films have gained a considerable following worldwide due to their universal themes and captivating storytelling. The ability to connect emotionally with a diverse audience has propelled vampire films to new heights, transcending cultural and national boundaries.

An excellent example of this is the "Twilight" saga based on Stephanie Meyer's popular novels. The franchise attracted a massive fan base globally and sparked a renewed interest in vampire mythology among a younger audience. By blending romance, fantasy, and thriller elements, the Twilight films struck a chord with viewers of different backgrounds, firmly establishing itself as a transnational Hollywood success story.

The Future of Vampire Films: Embracing Diversity

As Hollywood continues to diversify its storytelling, we can expect further evolution in the portrayal of vampires. Opportunities have opened up for filmmakers to explore multiracial and multicultural vampire narratives, introducing new characters and storylines that offer fresh perspectives.

The success of recent movies like "Blade," "Blackula," and the "Twilight" saga has proven the marketability and audience appetite for diverse vampire stories. This positive reception encourages filmmakers to push boundaries, challenge traditional vampire archetypes, and explore new horizons.

In , the world of vampires in American cinema has witnessed a significant transformation over the years. The emergence of transnational Hollywood traditions has ensured a more diverse and inclusive representation of vampires, breaking stereotypes and offering deeper insights into societal issues. As the industry evolves further, audiences can eagerly anticipate a future where vampire films continue to reflect the diverse world we live in, shedding light on unique cultural perspectives while captivating viewers with their timeless fascination.

Vampires, Race, and Transnational Hollywoods (Traditions in American Cinema)

by Dale Hudson (1st Edition, Kindle Edition)

4.6 out of 5

Language	:	English
File size	:	2713 KB
Text-to-Speech	:	Enabled
Screen Reader	:	Supported
Enhanced typesetting	:	Enabled
Word Wise	:	Enabled
Print length	:	296 pages

FREE

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. As the vampire's popularity has swelled, vampire film and television has engaged with changing discourses around race and identity not always addressed in realist modes. Here, teen vampires comfort misunderstood youth, chador-wearing skateboarder vampires promote transnational feminism, African American and Mexican American vampires recover their repressed histories. Looking at contemporary hits like True Blood, Twilight, Underworld and The Strain, classics such as Universal's Dracula and Drácula, and miscegenation melodramas like The Cheat and The Sheik, the book reconfigures Hollywood historiography and tradition as fundamentally transnational, offering fresh interpretations of vampire media as trans-genre sites for political contestation.