Spanish Vampire Fiction since 1900: Blood Relations, as that subtitle suggests, makes the case for considering Spanish vampire fiction an index of the complex relationship between intercultural phenomena and the specifics of a time, place, and author. Supernatural beings that drink blood are found in folklore worldwide, Spain included, and writers ranging from the most canonical to the most marginal have written vampire stories, Spanish ones included too. When they do, they choose between various strategies of characterization or blend different ones together. How much will they draw on conventions of the transnational corpus? Are their vampires to be local or foreign; alluring or repulsive; pitiable or pure evil, for instance? Decisions like these determine the messages texts carry and, when made by Spanish authors, may reveal aspects of their culture with striking candidness, perhaps because the fantasy premise seems to give the false sense of security that this is harmless escapism and, since metaphorical meaning is implicit, it is open to argument and, if necessary, denial. Part I gives a chronological text-by-text appreciation of all the texts included in this volume, many of them little known even to Hispanists and few if any to non-Spanish Gothic scholars. It also provides a plot summary and brief background on the author of each. These entries are free-standing and designed to be consulted for reference or read together to give a sense of the evolution of the paradigm since 1900. Part II considers the corpus comparatively, first with regard to its relationship to folklore and religion and then contagion and transmission. Spanish Vampire Fiction since 1900: Blood Relations will be of interest to Anglophone Gothic scholars who want to develop their knowledge of the Spanish dimension of the mode and to Hispanists who want to look at some canonical texts and authors from a new perspective but also gain an awareness of some interesting and decidedly non-canonical material.

The tale of a strange romance between a gas-station attendant and a lovely California, who had lain in her lonely grave for more than a hundred years! E. Hoffmann Price—one of the mainstays of fantasy and horror fiction in the classic days of the pulp magazines—published this classic vampire story in the legendary magazine Weird Tales in 1939.

Spanish Vampire Fiction since 1900: Blood Relations, as that subtitle suggests, makes the case for considering Spanish vampire fiction an index of the complex relationship between intercultural phenomena and the specifics of a time, place, and author. Supernatural beings that drink blood are found in folklore worldwide, Spain included, and writers ranging from the most canonical to the most marginal have written vampire stories, Spanish ones included too. When they do, they choose between various strategies of characterization or blend different ones together. How much will they draw on conventions of the transnational corpus? Are their vampires to be local or foreign; alluring or repulsive; pitiable or pure evil, for instance? Decisions like these determine the messages texts carry and, when made by Spanish authors, may reveal aspects of their culture with striking candidness, perhaps because the fantasy premise seems to give the false sense of security that this is harmless escapism and, since metaphorical meaning is implicit, it is open to argument and, if necessary, denial. Part I gives a chronological text-by-text appreciation of all the texts included in this volume, many of them little known even to Hispanists and few if any to non-Spanish Gothic scholars. It also provides a plot summary and brief background on the author of each. These entries are free-standing and designed to be consulted for reference or read together to give a sense of the evolution of the paradigm since 1900. Part II considers the corpus comparatively, first with regard to its relationship to folklore and religion and then contagion and transmission. Spanish Vampire Fiction since 1900: Blood Relations will be of interest to Anglophone Gothic scholars who want to develop their knowledge of the Spanish dimension of the mode and to Hispanists who want to look at some canonical texts and authors from a new perspective but also gain an awareness of some interesting and decidedly non-canonical material.

The 1970s were turbulent times and the films made then reflected the fact. Vampire movies—always a cinema staple—were no exception. Spurred by the worldwide success of Hammer Film’s Dracula Has Risen from the Grave (1969), vampire movies filled theaters for the next ten years—from the truly awful to bonafide classics. Audiences took the good with the bad and came back for more. Providing a critical review of the genre’s overlooked Golden Age, this book explores a mixed bag from around the world, including The Vampire Lovers (1970), Dracula Versus Frankenstein (1971), Scream, Blacula, Scream (1973), ’Salem’s Lot (1975), Dracula Sucks (1978) and Love at First Bite (1979) and many others.

Debicki's illuminating application of varied critical methodologies and theoretical approaches, in books such as Poetry of Discovery and Spanish Poetry of the Twentieth Century, is reflected in all the essays included in this book."

Director, producer and screenwriter Joss Whedon is a creative force in film, television, comic books and a host of other media. This book provides an authoritative survey of all of Whedon's work, ranging from his earliest scriptwriting on Roseanne, through his many movie and TV undertakings--Toy Story, Buffy the Vampire Slayer, Angel, Firefly/Serenity, Dr. Horrible, The Cabin in the Woods, and Agents of S.H.I.E.L.D.--to his forays into the Marvel Cinematic Universe. The book covers both the original texts of the Whedonverse and the many secondary works focusing on Whedon's projects, including about 2000 books, essays, articles, documentaries and dissertations.