000 04567cam a2200397Ii 4500
001 ocn980269190
003 OCoLC
005 20240726105045.0
008 170328s2016 stka ob 001 0 eng d
040 _aYDX
_beng
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020 _a9781474426725
_q((electronic)l(electronic)ctronic)
020 _a9780748694921
_q((electronic)l(electronic)ctronic)
020 _a9780748694938
_q((electronic)l(electronic)ctronic)
050 0 4 _aPN1995
_b.U534 2016
049 _aMAIN
100 1 _aAbbott, Stacey,
_e1
245 1 0 _aUndead apocalypse :
_bvampires and zombies in the twenty-first century /
_cStacey Abbott.
260 _aEdinburgh :
_bEdinburgh University Press,
_c(c)2016.
300 _a1 online resource (ix, 225 pages) :
_bcolor illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _adata file
_2rda
504 _a2
505 0 0 _aIntroduction "Needing to Know the Plural of Apocalypse" --
_tThe Legacy of Richard Matheson's I Am Legend --
_t"Cancer with a Purpose": Putting the Vampire Under the Microscope --
_tThe Cinematic Rising: The Resurgence of the Zombie --
_tA Very Slow Apocalypse: Zombie TV --
_tThe Hybrid Hero --
_t"Be Me": I-Vampire/I-Zombie --
_tHow to Survive a Vampire Apocalypse: Or, What to Do When the Vampires are Us --
_tAfterword They Walk Among Us: Vampires and Zombies in Popular Culture.
520 0 _aTwenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the 'reluctant' vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence. Explores the intersection of the vampire and zombie with 21st Century dystopian and post-apocalyptic cinema. Twenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the ÃǾ²Ơ℗reluctant' vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence. Key features. Rather than seeing them as separate or oppositional, this book explores the intersection and dialogue between the vampire and zombie across film and television Much contemporary scholarship on the vampire focuses on Dark Romance, while this book explores the more horror-based end of the genre Offers a detailed discussion of the development of zombie television Provides a detailed examination of Richard Matheson's I Am Legend, including the novel, the script, the adaptations and the BBFC's response to Matheson's script
530 _a2
_ub
650 0 _aVampire films
_y21st century
_xHistory and criticism.
650 0 _aVampires on television
_y21st century
_xHistory and criticism.
650 0 _aZombie films
_y21st century
_xHistory and criticism.
655 1 _aElectronic Books.
856 4 0 _uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1584975&site=eds-live&custid=s3260518
_zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942 _cOB
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_hPN..
_m2016
_QOL
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994 _a92
_bNT
999 _c87592
_d87592
902 _a1
_bCynthia Snell
_c1
_dCynthia Snell