DOCSLIB.ORG

Carmilla the Series (2014) Season 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carmilla the Series (2014) Season 1 Carmilla the Series (2014) Season 1 EPISODE 1: DISORIENTATION LAURA: Silas University in picturesque Styria, where nothing, not even the homecoming goat sacrifice, disturbs the pursuit of knowledge. But under the surface of this placid institute of higher learning you’ll find mystery after mystery. Just last week, students using the catalogue reported a search window claiming it was lost, begging for help to find Dudley Chapel, which burnt down in 1904. So, harmless prank or terrifying mystery waiting– BETTY: [I couldn’t make out the first part of her sentence] test! LAURA: [addressing the camera] Betty Spielsdorf, ladies and gentlemen! Roommate extraordinaire and best friend of the last several weeks. [addressing Betty] So, how’d you do? BETTY: 62%. Which is pretty cool. It’s like a gentlewoman’s C. LAURA: Hey– BETTY: We’re gonna go out and celebrate. LAURA: You are so much better than a 62. Maybe if there was a little less celebrating and a little more studying… BETTY: [overlapping] Come on, dude. This is what college is about. And finally you’re out of that hamster ball that your dad had you living in… LAURA: He just had… safety concerns. BETTY: And now it’s time to live. Like, right now. What are you doing right now? LAURA: My journalism project. BETTY: No. No, no, no, no, no. The quad mixer’s right now, ‘kay? I’m not leaving you here alone talking to the Internet about– LAURA: The library catalogue possibly achieving sentience? BETTY: ‘Kay, so some library catalogue… prank… I don’t know. But all I know is that it is 6 PM on a Friday. We’re gonna get you in something cute… [looks at Laura’s button up and pyjama pants] Ooh, this is bad. ‘Kay, we’re gonna have fun. Let’s do it. LAURA: Okay, but I have to finish this before– BETTY: No buts. This is our college adventure, come on! Besides, the spooky library will be there tomorrow… Hey, Danny’s gonna be there, that TA. Will you come? Please come. LAURA: [considering] Yes, fine! BETTY: Yeah! [getting ready montage, music] [title card: “THE MORNING AFTER”] LAURA: Oh, crap. Have you been on this whole night? [beat] Let’s just do a little before and after, shall we? And how is the Jaegar bombinatrix doing this morning? [Betty’s bed is empty] Betty? Bets? Is this some kind of a joke? [notices card on the ground; picks it up] Ugh… What the…? [reading card] Dear Student, your roommate no longer attends Silas University… What the what? EPISODE 2: MISSING LAURA: [on the phone] No, no, what I’m saying is there was a card, but it is wrong. There is no way that Betty decided to drop out and go home at 2 AM on a Friday night with none of her stuff. And even if she did, there is no way in hell or Hogwarts she left me with this “official” notecard. It is multiple choice! [reading card] Dear student, your roommate no longer attends Silas University. He or she (A) lost his or her scholarship and decided to go home (B) has elected to attend another school due to your extreme incompatibility (C) experienced a psychological event that left him or her unfit for student life or (D) cited personal reasons, and really, why does anybody do anything? Exit procedures have commenced; no action on your part is required. I mean, really? Not to mention that I found it next to a pile of ick that started growing mushrooms the next day. So, what I’m gonna need from you, since no one else seems to care that a girl is missing is to talk to the dean of students, okay? [dial tone] I swear, that is like, the third time. [puts phone back on receiver] Come on, Betty. Just text me back. Say that you’ve slept over with some subliterate gym shark or something. [re: her old flip phone] Don’t judge. My dad thought I’d use an iPhone to send high resolution selfies to potential stalkers. Okay. [picks up phone again, dials number] Come, join the fun. ANSWERING MACHINE: You have reached the office of student affairs at Silas University. If you know your party’s extension, please dial it at any time. [Laura dials number] You have reached Silas Campus Security. If an incident is in progress, please dial 4815 or active the nearest blue tentacle phone. For missing persons, please press 1. To report an escaped entity or poltergeist activity please press– [cell phone rings] LAURA: Uh, hi, Betty! Yes, oh, yes, yes! I am the girl with the missing roommate. Thank you so much for calling, nobody else seems to… What? No, I don’t need a new roommate! I already have a roommate. Or, I would if she wasn’t missing. No, you can stop yelling! I’m just– [dial tone] The university doesn’t wanna help find Betty? Fine. I’ve got three weeks of a journalism class and I’ve seen all of Veronica Mars. I’ll find her myself. [later] LAURA: This is insane. There were hundreds of kids at that mixer and nobody saw anything. Like our floor don, Perry. [imitating Perry] Um, I may have seen her dancing across the quad, but I don’t know, things just got so foggy after the alchemy guys released, you know, the fog… Or the creeps from Zeta Omega Mu. [imitating the dudebros] Uh, like a hottie in a pink halter? I hit, like, three of those last night, chiquita. Or, anybody really. [imitating anyone] Yeah, but wasn’t she with you? [back to Laura] She was. God, why didn’t I keep better track of her? What the hell happened last night? [door opens, Carmilla barges in] CARMILLA: Hey. LAURA: Um. Excuse me, but who the hell are you? CARMILLA: Carmilla. I’m your new roommate, sweetheart. [END OF EPISODE] EPISODE 3: THE ROOMMATE LAURA: My what? CARMILLA: Your new roommate. LAURA: I have a roommate. CARMILLA: Well, don’t you catch on fast. LAURA: No, I mean I have a pre-existing roommate. A prior roommate. Her name is Betty. CARMILLA: Oh, yeah? Where’s she? LAURA: She’s… missing right now. CARMILLA: I see. So, you can’t produce this Betty or anything, but you’d like me to leave? LAURA: Well, I wouldn’t put it exactly like tha– [Carmilla pocketing Betty’s things] What are you doing? CARMILLA: Well, you see, I may not have this roommate, but what I do have is a letter from your dean of students that says I live here now. [going through Betty’s clothes] LAURA: Stop that! Those are not yours. CARMILLA: Well, they’re in my half room, cutie. And possession is nine tenths. LAURA: [snatches shirt out of Carmilla’s hands] This isn’t your room. CARMILLA: Tell you what. You cough up Betty and I’ll hit the road. But until then.. [grabs shirt back] LAURA: Oh, this is not happening. You are not my new roommate! I’m gonna find Betty, and you’re gonna be out of here so fast there’s gonna be scorch marks on those leather pants of yours. [later] LAURA: Well, it is day three of the incursion here in room 307 and Betty is still missing. She has been officially replaced with the roommate from hell. Don’t believe me? Let’s roll the surveillance. LAURA “(V.O.)”.: She keeps wearing Betty’s clothes. She steals my chocolate. She never cleans anything. She’s never awake before 4 PM, which is perhaps unsurprising when she’s up all night with some girl from an anthropology class. In my bed. But it’s fine, really. Because when Carmilla’s latest “study buddy” came over, I may have mentioned that Carmilla has raging cold sores and she should probably get herself checked out because they are like, super contagious. Boom. Revenge is mine. And so is Carmilla’s super special soy milk that I’m not supposed to touch because [imitating Carmilla] that’s just the way the world works, cutie. Ha. [pours “soy milk”. It’s blood.] Ahh! Ahhh! [END OF EPISODE] EPISODE 4: FREAK OUT LAURA: See? Blood. In the milk container. In my creepy roommate’s milk container. So, she’s gotta go, right? I mean, this is like, a death threat, or a health code violation. And the time has come for Carmilla to go. PERRY: Well, there’s no denying it’s a little odd. LAFONTAINE: Odd? That’s where you’re going with this? How many people you know take Type O with their Chokoa Crunch? PERRY: LaFontaine, you know you’re not here in an official capacity. So, as Laura’s actual floor don– LAFONTAINE: [overlapping] Are you really gonna try and pretend this isn’t a total freak show? PERRY: We haven’t even given the roommate a chance to explain herself! For all we know it could be some kind of like, protein supplement. LAFONTAINE: For extreme hemoglobin deficiency? PERRY: You’re not helping. LAFONTAINE: I know you wanna pretend the weird here’s all Doctor Seuss, Perr, but in my world the alchemy club press gangs [?] test subjects in the caf. As this floor’s unofficial truth speaker, I’m gonna tell frosh she needs to wise up if she intends to survive. LAURA: Oh, see, surviving. Yes. I like that plan. And in order to do that, we need to get rid of Carmilla.
Load more

Recommended publications
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • Lesbianism and the Uncanny in Sheridan Le Fanu's Carmilla
    Lesbianism and the Uncanny in Sheridan Le Fanu’s Carmilla Sergio Ramos Torres Trabajo de Fin de Grado en Estudios Ingleses Supervised by Constanza del Río Álvaro Diciembre 2016 Universidad de Zaragoza 0 Contents Introduction 2 1. The vampire in literature and popular culture 5 1.1 Female vampires 10 2. Lesbianism and the uncanny in Carmilla 13 2.1 Contextualisation 13 2.2 Lesbianism and the Uncanny in Carmilla 16 Conclusion 23 Works Cited 25 1 Introduction The figure of the vampire has been present in most cultures, and the meanings and feelings these supernatural creatures represent have been similar across time and space. For human beings they have been a source of fear and superstition, their significance acquiring religious connotations all over the world. The passing of time has modified this ancient horror and the myth has changed little by little, most of the time being softened, giving birth to diverse conceptions and representations that differ a lot from the evil spawn – originating in myth, legend and folklore – that ancient people were afraid of. These creatures have been represented not as part of the human being, but as a nemesis, as the “other”, and as something that is dead but, at the same time, alive, threatening the pure existence of the human by disrupting the carefully constructed borders that civilization has erected between the self and the other, the human and the animal, between life and death. They are, like Rosemary Jackson said, “our relation to death made concrete” (68) and thus, they “disrupt the crucial defining line which separates real life from the unreality of death” (69).
    [Show full text]
  • Polysèmes, 23 | 2020 Revamping Carmilla: the Neo-Victorian Transmedia Vlog Adaptation 2
    Polysèmes Revue d’études intertextuelles et intermédiales 23 | 2020 Contemporary Victoriana - Women and Parody Revamping Carmilla: The Neo-Victorian Transmedia Vlog Adaptation Les adaptations néo-victoriennes transmédiatiques en vlog : l’exemple de Carmilla Caroline Duvezin-Caubet Electronic version URL: http://journals.openedition.org/polysemes/6926 DOI: 10.4000/polysemes.6926 ISSN: 2496-4212 Publisher SAIT Electronic reference Caroline Duvezin-Caubet, « Revamping Carmilla: The Neo-Victorian Transmedia Vlog Adaptation », Polysèmes [Online], 23 | 2020, Online since 30 June 2020, connection on 02 July 2020. URL : http:// journals.openedition.org/polysemes/6926 ; DOI : https://doi.org/10.4000/polysemes.6926 This text was automatically generated on 2 July 2020. Polysèmes Revamping Carmilla: The Neo-Victorian Transmedia Vlog Adaptation 1 Revamping Carmilla: The Neo- Victorian Transmedia Vlog Adaptation Les adaptations néo-victoriennes transmédiatiques en vlog : l’exemple de Carmilla Caroline Duvezin-Caubet I was anxious on discovering this paper, to re- open the correspondence commenced […] so many years before, with a person so clever and careful […]. Much to my regret, however, I found that she had died in the interval. She, probably, could have added little to the Narrative which she communicates in the following pages with, so far as I can pronounce, such conscientious particularity. (Le Fanu 242) 1 This is how an anonymous “editor” introduces Joseph Sheridan Le Fanu’s Carmilla (1872), framing the novella as a found manuscript. However, over a century after its initial publication, the “clever and careful” narrator Laura did get to add to her story and re-open her conscientious and particular communication through new media: Youtube and the world-wide web.
    [Show full text]
  • The Gendered Vampires in Contemporary Culture: a Lesbian Feminist Reading
    The Gendered Vampires in Contemporary Culture: A Lesbian Feminist Reading Thesis presented by Ina YEE to Department of Modem Languages and Intercultural Studies The Chinese University of Hong Kong in partial fulfillment of the requirements for the Degree of Master of Philosophy 1999 © 1999 Ina YEE .^^;-/ji系維書圖^ ^^ \ 4 FFB in|| :—l.,.,,^RSiT Y ZJJ/cg/ 'v-^V"xLiBRARY SYSTE^y^T �^^^ Acknowledgements I would like to take this opportunity to thank the various people who have given me tremendous help and support during the past two years. To begin—with, I would like to express my heartfelt gratitude to Prof. K.Y. Wong, my supervisor and mentor, whom I have known since my undergraduate years. In fact it was him who set me off on this project: he introduced vampirism to me. I have leamt a great deal from his expertise and enthusiasm. Over the years, he has been a wonderful teacher and supervisor, taking pains to listen to my---sometimes personal--- problems, giving me advice. Working with him for the past two years has been fun and rewarding. I have not only found a teacher in K.Y., but a great friend too. I would also like to thank Prof. Thomas Luk, my co-supervisor, for his time and energy in looking through the rough drafts of my thesis, which are never in short of careless mistakes. He has been a helpful supervisor, and with his solid experience in literary criticism，he has identified errors in my arguments which I have overlooked. I am glad to have Prof. Cheung Chan Fai and Prof.
    [Show full text]
  • Castlevania Judgment Vampire Killer
    Castlevania Judgment Vampire Killer Is Lance far-seeing or lustral after excisable Uri commemorated so inimitably? Sasha remains piggy after Godfry generate quirkily or referee any Fergus. Is Garwood divisionary or rhizogenic after power Bjorn furnacing so undistractedly? Need to the castlevania judgment vampire killer roblox id below to a secret gameplay, she had to bring back against his killer? No hope for castlevania judgment vampire killer in castlevania his village in quick view. What you will take your favourite artists on an ancient civilization for combat cross. More detailed trees and flora. Gabriel to palm The Mask to bring as his ambassador wife Marie. This whip rila fukushima and generally enjoyable, castlevania series hero chris redfield, sunt in a key script element, samba de amigo, get a slap in. While the arrangements are generally enjoyable, they tend to be quite formulaic in their approach. The payment has been chosen by and carl critchlow takes for castlevania judgment vampire killer from decent to me out! The end to create a saga older than time rift while also offers him back to dracula x: livestream recap ft. You want to help me out this, leaving a god, has been keeping busy as. Seitokai no custom animation possible for castlevania judgment vampire killer whip is back against rivals works. Simon is used during stage themes are castlevania judgment. Sorry, unfortunately Sony cannot respond to this request at the moment. Castlevania black characters look like this page for mountains and landscaping much. She appears in a remix introduces a vampire. Instead of castlevania judgment employs too many design ideas that you agree to load we are neither well as well planned nor well as pets.
    [Show full text]
  • Univerzita Palackého V Olomouci Filozofická Fakulta Katedra Anglistiky a Amerikanistiky Hana Zámečníčková the Metamorphos
    Univerzita Palackého v Olomouci Filozofická fakulta Katedra anglistiky a amerikanistiky Hana Zámečníčková The Metamorphosis of the Character of Count Dracula during the Century Bakalářská práce Studijní obor: anglická filologie Vedoucí práce: PhDr. Libor Práger, Ph.D Olomouc 2013 Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně a uvedla úplný seznam citované a použité literatury. V Olomouci dne ............................. .................................. Table of contents: 1 Introduction.......................................................................................................................1 1.1 Dracula as a subject of study.................................................................................2 2 Dracula in the novel..........................................................................................................6 2.1 The visual appearance of Count Dracula...............................................................6 2.2 Dracula's Personality.............................................................................................7 2.3 Dracula as a supernatural being.............................................................................8 2.4 Dracula as a metaphor..........................................................................................11 3 Dracula emerges on screen.............................................................................................15 3.1 Dracula in the 1920s............................................................................................15
    [Show full text]
  • Carmilla's Creampuffs Amanda Irwin Rhode Island College, Airwin [email protected]
    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 4-15-2017 Carmilla's Creampuffs Amanda Irwin Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Other English Language and Literature Commons Recommended Citation Irwin, Amanda, "Carmilla's Creampuffs" (2017). Honors Projects Overview. 132. https://digitalcommons.ric.edu/honors_projects/132 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. CARMILLA’S CREAMPUFFS: THE ALCHEMY OF QUEER ADAPTATION, BRANDING, AND FANDOM IN A WEB SERIES By Amanda Irwin An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors In The Department of English Faculty of Arts and Sciences Rhode Island College 2017 Irwin 2 CARMILLA’S CREAMPUFFS: THE ALCHEMY OF QUEER ADAPTATION, BRANDING, AND FANDOM IN A WEB SERIES An Undergraduate Honors Project Presented By Amanda Irwin To Department of English Approved: ___________________________ _____________ Project Advisor Date ___________________________ _____________ Honors Committee Chair Date ___________________________ _____________ Department Chair Date Irwin 3 TABLE OF CONTENTS Prologue………………………………………………………………………………………….4 Introduction………………………………………………………………………………………5
    [Show full text]
  • Reviews of Dreyer's VAMPYR [Taken from the Amazon.Com Web Page for the Movie; Remember That for the Most Part These Reviewers Are Not Scholars]
    Reviews of Dreyer's VAMPYR [taken from the amazon.com web page for the movie; remember that for the most part these reviewers are not scholars] Editorial Reviews Amazon.com In this chilling, atmospheric German film from 1932, director Carl Theodor Dreyer favors style over story, offering a minimal plot that draws only partially from established vampire folklore. Instead, Dreyer emphasizes an utterly dreamlike visual approach, using trick photography (double exposures, etc.) and a fog-like effect created by allowing additional light to leak onto the exposed film. The result is an unsettling film that seems to spring literally from the subconscious, freely adapted from the Victorian short story Carmilla by noted horror author Joseph Sheridan Le Fanu, about a young man who discovers the presence of a female vampire in a mysterious European castle. There's more to the story, of course, but it's the ghostly, otherworldly tone of the film that lingers powerfully in the memory. Dreyer maintains this eerie mood by suggesting horror and impending doom as opposed to any overt displays of terrifying imagery. Watching Vampyr is like being placed under a hypnotic trance, where the rules of everyday reality no longer apply. As a splendid bonus, the DVD includes The Mascot, a delightful 26-minute animated film from 1934. Created by pioneering animator Wladyslaw Starewicz, this clever film--in which a menagerie of toys and dolls springs to life--serves as an impressive precursor to the popular Wallace & Gromit films of the 1990s. --Jeff Shannon Product Description: Carl Theodor Dreyer's eerie horror classic stars Julian West as a visitor to a remote inn under the spell of an aged, bloodthristy female vampire.
    [Show full text]
  • An Examination of Violence and the Lesbian Vampire Narrative
    DEFANGED AND DESIRABLE: AN EXAMINATION OF VIOLENCE AND THE LESBIAN VAMPIRE NARRATIVE Chelsea Graham A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2016 Committee: Piya Pal-Lapinski, Advisor Stephannie Gearhart © 2016 Chelsea Graham All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor The vampire, like any sort of Gothic monster, operates as a conduit for various societal pressures. However, the vampire is seen as particularly adaptable in how it restructures itself as a figure of fear in multiple time periods. This work examines the various forms and fears the lesbian vampire embodies and why society is continually fascinated with such a figure. One of the key texts in my project is Sheridan LeFanu’s novella, Carmilla, published in 1872. LeFanu’s story predates Bram Stoker’s Dracula, and is one of the first major explorations of the lesbian vampire trope including victimology, seduction tactics, and even popular adversaries. Although there are many adaptations which feature a lesbian vampire, my project will be limited to Scott’s film The Hunger, produced in 1983, and season one of the recent Youtube series, Carmilla, produced in 2014. In these various adaptations, I have noted a cycle of violence surrounding the vampire, her adversaries, and victims. What is interesting is how this cycle seems to change with each adaptation of the lesbian vampire’s story depending on the time the story is set in. What is interesting about this trend of shifting cycles and loci of violence is what happens to them when society begins to accept the lesbian vampire and no longer fears her.
    [Show full text]
  • Beauties and Beasts of Carmilla, Strange Cae of Dr. Jekyll and Mr
    Journal of Dracula Studies Volume 16 Number 1 Article 2 2014 Beauties and Beasts of Carmilla, Strange Cae of Dr. Jekyll and Mr. Hyde, and Dracula Shirley Ibach Fredonia State University of New York Follow this and additional works at: https://research.library.kutztown.edu/dracula-studies Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Ibach, Shirley (2014) "Beauties and Beasts of Carmilla, Strange Cae of Dr. Jekyll and Mr. Hyde, and Dracula," Journal of Dracula Studies: Vol. 16 : No. 1 , Article 2. Available at: https://research.library.kutztown.edu/dracula-studies/vol16/iss1/2 This Article is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Journal of Dracula Studies by an authorized editor of Research Commons at Kutztown University. For more information, please contact [email protected]. Beauties and Beasts of Carmilla, Strange Cae of Dr. Jekyll and Mr. Hyde, and Dracula Cover Page Footnote Shirley Ibach received her master’s degree from Fredonia State University of New York in English Literature this year and her bachelor’s degree from Dartmouth College in 2007. Her research areas include film and television studies and theater studies, as well as literature, and focus on issues pertaining to women’s and gender studies. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol16/ iss1/2 Beauties and Beasts of Carmilla, Strange Case of Dr. Jekyll and Mr.
    [Show full text]
  • Barbara Von Cilli, Le Fanu's "Carmilla" and the Dragon Order
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Commons Kutztown University Journal of Dracula Studies Volume 3 2001 Article 2 2001 In Search of the Lesbian Vampire: Barbara von Cilli, Le Fanu's "Carmilla" and the Dragon Order Raymond T. McNally Boston College Follow this and additional works at: https://research.library.kutztown.edu/dracula-studies Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation McNally, Raymond T. (2001) "In Search of the Lesbian Vampire: Barbara von Cilli, Le Fanu's "Carmilla" and the Dragon Order," Journal of Dracula Studies: Vol. 3 , Article 2. Available at: https://research.library.kutztown.edu/dracula-studies/vol3/iss1/2 This Article is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Journal of Dracula Studies by an authorized editor of Research Commons at Kutztown University. For more information, please contact [email protected],. In Search of the Lesbian Vampire: Barbara von Cilli, Le Fanu's "Carmilla" and the Dragon Order Cover Page Footnote Raymond McNally, a professor of history at Boston College, is well-known for his ground-breaking work on Vlad the Impaler. He has co-authored (with Radu Florescu) In Search of Dracula, Dracula: A Biography of Vlad the Impaler, Dracula: Prince of Many Faces, and In Search of Dr. Jeckyll and Mr. Hyde. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol3/ iss1/2 In Search of the Lesbian Vampire: Barbara von Cilli, Le Fanu’s “Carmilla” and the Dragon Order Raymond T.
    [Show full text]
  • Recording Angels: Examining Female Narrators in Vampire Fiction and Film Jacqueline T
    College of the Holy Cross CrossWorks Honors Theses Honors Projects 4-1-2017 Recording Angels: Examining Female Narrators in Vampire Fiction and Film Jacqueline T. Bashaw College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/honors Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Bashaw, Jacqueline T., "Recording Angels: Examining Female Narrators in Vampire Fiction and Film" (2017). Honors Theses. 12. https://crossworks.holycross.edu/honors/12 This Thesis is brought to you for free and open access by the Honors Projects at CrossWorks. It has been accepted for inclusion in Honors Theses by an authorized administrator of CrossWorks. Recording Angels: Examining Female Narrators in Vampire Fiction and Film Jacqueline Bashaw College Honors Program English Honors Program Advisor: Professor Debra Gettelman Reader: Professor Toby Mountain 2 Table of Contents Abstract…………………………………………………………………………………………...3 Introduction………………………………………………………………………………………4 Chapter I: The Struggle for Narrative Authority in Le Fanu’s Carmilla…………………..11 I. Introduction II. Female narrators and Gothic frame narratives III. Le Fanu’s frame narrator IV. Laura’s narrative insecurity V. Carmilla’s narrative voice VI. Conclusion Chapter II: Mina Harker: Recording Angel………………………………………………….27 I. Introduction II. Other women in Dracula III. Mina’s religious role IV. Mina as narrator and compiler V. The Recording Angel Chapter III: The Silent Narrator: Mina on Screen……………………………………..……54 I. Introduction II. Murnau’s Nosferatu III. Murnau’s narrative structure IV. Nina’s supernatural perspective V. Herzog’s Nosferatu the Vampyre VI.
    [Show full text]