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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. -
QUEERING the SCRIPT 93 Minutes / CANADA
QUEERING THE SCRIPT 93 minutes / CANADA Written and Directed by Gabrielle Zilkha ** OFFICIAL SELECTION – 2019 Inside Out LGBT Film Festival ** ** OFFICIAL SELECTION – 2019 Frameline43 ** Recipient of the Frameline Completion Fund ** OFFICIAL SELECTION – 2019 Outfest LGBT Film Festival ** Winner of the Special Programming Award for Freedom ** OFFICIAL SELECTION - AGLIFF 2019 ** ** OFFICIAL SELECTION – RAINDANCE FILM FESTIVAL 2019 ** Queering the Script is produced by Shaftesbury with the participation of Hollywood Suite, the Canada Media Fund, the Frameline Completion Fund, and with the assistance of The Canadian Film or Video Tax Credit and The Ontario Film and Television Tax Credit. Logline: Giving queer fandom a voice in the conversation about LGBTQ+ representation from “Xena” to “The L Word” to “Pose”, QUEERING THE SCRIPT examines the rising power of the fans and audience shaping representation on TV, the relationship between fandom and activism, and what lies ahead for visibility and inclusiveness. Synopsis: Queerness on television has moved from subtext, in series such as “Xena: Warrior Princess”, to all- out multi season relationships between women, as seen on “Buffy the Vampire Slayer”, “Lost Girl”, and “Carmilla”. But things still aren’t perfect. In 2016, a record number of queer women died on fictional shows, which broke the hearts of queer fans and launched a successful fight for better, more diverse LGTBQ2S+ representation. Stars such as Ilene Chaiken, Stephanie Beatriz, Lucy Lawless and Angelica Ross join with the voices of numerous kickass fangirls in this fast-paced history of queer women’s representation of contemporary television. QUEERING THE SCRIPT not only charts the evolution of queerness, but also demonstrates the extraordinary impact of activism on its many diverse fans, ensuring that they see themselves accurately portrayed on screen. -
Carmilla and Affect in Contemporary Lesbian Fandom
Lesbian Feelings and Fandoms: Carmilla and Affect in Contemporary Lesbian Fandom by Sneha Shilip Kumar A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario © 2020, Sneha Shilip Kumar Abstract My thesis explores the contemporary lesbian web series as being similar to fanfiction and its fandom as an affective community built on a set of inclusions and exclusions. My case study is Carmilla (Canada, Spencer Maybee 2014-2016), a YouTube web series shot in vlog format, and its lesbian fandom. I argue that Carmilla challenges the genres of the gothic and lesbian vampire in ways similar to fanfiction. Building on the work of fan studies scholars Katrin Döveling and Louisa Stein, I propose that affective bonds are created between Carmilla fans through various kinds of online activities and these flows of affect are influenced by the race and location of fans. My experiences at the first CarmillaCon in Toronto suggest that the online and offline Carmilla fandom both create and reflect each other. i Acknowledgements I am grateful to the Carmilla fandom for many reasons: giving me community when I thought I had none; allowing me to feel acceptance when I felt uncomfortable in my own skin; getting me through long nights filled with many assignments; and finally, providing me with the resources to successfully write my thesis. There are so many people I have to thank for giving me the strength and guidance to finish this project. First and foremost, I am indebted to my supervisor, Dr. -
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 -
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. -
Queer Subjectivity, Transmedia, and Embodiment in the Carmilla Fandom
Georgia State University ScholarWorks @ Georgia State University Anthropology Honors Theses Department of Anthropology 5-7-2016 Queer Subjectivity, Transmedia, and Embodiment in the Carmilla Fandom Stephanie Skinner Follow this and additional works at: https://scholarworks.gsu.edu/anthro_hontheses Recommended Citation Skinner, Stephanie, "Queer Subjectivity, Transmedia, and Embodiment in the Carmilla Fandom." Thesis, Georgia State University, 2016. https://scholarworks.gsu.edu/anthro_hontheses/13 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Honors Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. QUEER SUBJECTIVITY, TRANSMEDIA, AND EMBODIMENT IN THE CARMILLA FANDOM by STEPHANIE SKINNER Under the Direction of Cassandra White, PhD ABSTRACT This study examines the ways in which individuals mediate the institutionalization and embodiment of queer identities in the Carmilla fandom by manipulating transmedia networks. The research conducted expands upon Boellstorff’s (2015) methodology for virtual communities and Spitulnik’s (1993) theory of “media power”. Data was collected using three strategies: 1) quantitative surveys of 436 individuals, 2) five interviews, and 3) participant observation in the Carmilla fandom through social media. While Marxist and critical theorists assert that mass media is contextualized as -
The Carmilla Movie, Based on the Hit Web Series Starring Elise Bauman and Natasha Negovanlis, in Theatres and Online This October
They’re back! The Carmilla Movie, based on the hit web series starring Elise Bauman and Natasha Negovanlis, in theatres and online this October Release strategy includes event screenings at Cineplex theatres across Canada on Thursday October 26 The Carmilla Movie will stream exclusively on Fullscreen beginning Friday October 27 TORONTO, ON – September 27, 2017 – Shaftesbury and Cineplex Events today announced exclusive screenings of The Carmilla Movie, starring Elise Bauman and Natasha Negovanlis, based on the critically acclaimed web series Carmilla, on Thursday October 26 across Canada. Tickets for the one-night-only event, which will take place in 30 cities across Canada, are now on sale at www.cineplex.com/events and www.cineplex.com/Movie/the-carmilla- movie. As a Cineplex Events exclusive, theatrical screenings of The Carmilla Movie will feature additional footage that will not be available on streaming platforms carrying the film. “Carmilla is a global phenomenon and we are so thrilled to bring our beloved characters and captivating story world to the big screen. The Cineplex Events screenings are an incredible opportunity for Carmilla fans across the country to enjoy the film with one another, to meet and exchange their own stories, as well as grow the fanbase and attract new viewers who haven’t yet discovered the series,” said Christina Jennings, Chairman & CEO, Shaftesbury / executive producer, Carmilla. Additionally, fans around the world who pre-ordered The Carmilla Movie on VHX will be able to watch the film immediately on the platform beginning October 26. And, beginning October 27, fans can also catch the movie on Fullscreen, the exclusive streaming home of the film. -
Un-Dead Girl Walking: Unearthing a Feminist Alternative to Problematic Media Tropes
University of St. Thomas, Minnesota UST Research Online English Master's Essays English Summer 2019 Un-Dead Girl Walking: Unearthing a Feminist Alternative to Problematic Media Tropes Molly Ann Behun Follow this and additional works at: https://ir.stthomas.edu/cas_engl_mat Part of the English Language and Literature Commons Un-Dead Girl Walking: Unearthing a Feminist Alternative to Problematic Media Tropes by Molly Ann Behun A Master’s Essay submitted to the faculty of the Graduate Program in English in partial fulfillment of the requirements for the degree of Master of Arts in English University of St. Thomas Saint Paul, Minnesota August 2019 To the little girl who wanted a hero, We found her. ii Acknowledgments I would like to thank Dr. Alexis Easley for her years of support and guidance throughout my tenure at the University of St. Thomas, and especially throughout the process of writing this essay. I can’t put into words how thankful I am for all of our time spent working and writing and chatting about life. She’s helped me become the person I am today, and for that, I am eternally grateful. iii ABSTRACT Inspired by Alice Bolin’s Dead Girls: Essays on Surviving an American Obsession, this personal essay explores the history of the Dead Girl archetype in crime fiction and beyond, meditating on the ways in which the Dead Girl has infiltrated almost every realm of Western culture. The Dead Girl, and her sister the Living Dead Girl, are figures that allows patriarchal writers to include women in their fiction at the expense of female agency, authenticity and life, as seen in the frequency with which dead women decorate the page and the screen. -
Carmilla, De Joseph Sheridan Le Fanu: O Lesbianismo Como Campo Da Memória Subterrânea
CARMILLA, DE JOSEPH SHERIDAN LE FANU: O LESBIANISMO COMO CAMPO DA MEMÓRIA SUBTERRÂNEA Marília Milhomem Moscoso Maia – [email protected] Universidade Federal do Maranhão (UFMA), São Luís, Maranhão, Brasil; https://orcid.org/0000-0002-6524-5063 Rarielle Rodrigues Lima – [email protected] Universidade Federal do Maranhão (UFMA), São Luís, Maranhão, Brasil; https://orcid.org/0000-0001-8494-302X Sandra Maria Nascimento Sousa – [email protected] Universidade Federal do Maranhão (UFMA), São Luís, Maranhão, Brasil; https://orcid.org/0000-0001-9501-7363 RESUMO: Este artigo pretende analisar a obra Carmilla de Joseph Sheridan Le Fanu evidenciando que por intermédio da narração e das memórias de Laura é possível compreender o lesbianismo como espaço do privado, da memória subterrânea ou do trauma. Destacaremos o lesbianismo na narrativa como algo diluído, apresentado ora como amizade, ora como admiração ou aversão. Carmilla é uma obra ainda pouco conhecida e não apresenta trabalhos que contemplem uma discussão teórica sobre a memória e o lesbianismo existentes na narrativa de Le Fanu. O espaço literário, a memória e o lesbianismo serão tratados sob uma proposta interdisciplinar das contribuições de Michel Foucault (1996; 2015), Sedgwick (2007), Michael Pollack (1992; 1989) e Maurice Halbwachs (2006). PALAVRAS-CHAVE: Lesbianismo; Memória subterrânea; Segredo 1 INTRODUÇÃO A obra Carmilla, de Joseph Sheridan Le Fanu, publicada inicialmente em 1872, teve inúmeras edições e reedições ao longo dos anos1, incluindo uma adaptação para o cinema e mais recentemente, em 2014, foi lançada como uma websérie2 canadense pela plataforma Youtube©. Estes processos de adaptação e reedição vivificam a obra em diversos contextos, permitindo outras interpretações e análises. -
Post-Millennial Queer Sensibility: Collaborative Authorship As Disidentification in Queer Intertextual Commodities
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre 1-7-2022 Post-Millennial Queer Sensibility: Collaborative Authorship as Disidentification in Queer Intertextual Commodities Tanya D. Zuk Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Zuk, Tanya D., "Post-Millennial Queer Sensibility: Collaborative Authorship as Disidentification in Queer Intertextual Commodities." Dissertation, Georgia State University, 2022. https://scholarworks.gsu.edu/fmt_dissertations/17 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. POST-MILLENNIAL QUEER SENSIBILITY: COLLABORATIVE AUTHORSHIP AS DISIDENTIFICATION IN QUEER INTERTEXTUAL COMMODITIES by TANYA D. ZUK Under the Direction of Ethan Tussey, PhD ABSTRACT This dissertation is examining LGBTQ+ audiences and creatives collaborating in the creation of new media texts like web shows, podcasts, and video games. The study focuses on three main objects or media texts: Carmilla (web series), Welcome to Night Vale (podcast), and Undertale (video game). These texts are transmedia objects or intertextual commodities. I argue that by using queer gestures of collaborative authorship that reaches out to the audience for canonical contribution create an emerging queer production culture that disidentifies with capitalism even as it negotiates capitalistic structures. The post-millennial queer sensibility is a constellation of aesthetics, self-representation, alternative financing, and interactivity that prioritizes community, trust, and authenticity using new technologies for co-creation. -
Carmilla (2014-2016, Online) As Digital Reimagining of Lefanu’S “Carmilla.”
“Most of you are wondering who the heck I am”: Carmilla (2014-2016, online) as Digital Reimagining of LeFanu’s “Carmilla.” Lorna Jowett Canadian web series Carmilla (2014-2016) is both an adaptation of Sheridan LeFanu’s 1872 novella and a successful transmedia production in its own right. The web series consists of three 36-episode seasons, with one Christmas special and a 12-episode season zero, accumulating around 70 million YouTube views by 2017. It has been translated into 20 languages and found an audience in 193 countries. In October 2017, a movie was released, acting as a conclusion to the story. The series was created by Jordan Hall, Steph Ouaknine and Jay Bennett and was initially available on the YouTube channel of Vervegirl, which became KindaTV in 2016. As a low-budget web series, Carmilla indicates how TV horror evolves and innovates by reimagining a Gothic text from the nineteenth century for a twenty- first century audience surrounded by digital technologies. For those unfamiliar with the series, one fan on Tumblr offers a neat description highlighting features that make Carmilla a ‘niche’ production but one that satisfies its audience in ways that more mainstream television or visual media cannot, or does not: who would have thought that my life would be consumed by a canadian web series on youtube thats funded by a tampons and pads company about a supernatural school where half the students are ginger and gay and a naïve provincial girl thats oblivious to her whipped lesbian vampire roommate yet here we are (praytothegay 21 April 2014) This description—reposted many times by fans of the series—may seem to bear little resemblance to LeFanu’s novella, yet Carmilla’s first season sticks quite closely to the source text. -
Bridging the Gap Between the Gothic, the Lesbian Vampire, and Fanfiction
Carleton University Render Volume 8 Contextualizing Carmilla: Bridging the gap between the gothic, the lesbian vampire, and fanfiction Sneha Kumar Film Studies, Carleton University, Ottawa, Canada Abstract In this essay, I argue that Carmilla (Canada, Spencer Maybee 2014-2016), a 121-episode web series shot in vlog format that follows the relationship between a human girl, Laura Hollis, and a female vampire, Carmilla Karnstein occupies a liminal space between fanfiction and industrial product. My understanding of this liminal space has been informed by the work of Aymar Jean Christian. The series is loosely inspired by Joseph Sheridan Le Fanu’s 1872 novella and the many previous filmic adaptations of the novella, but adapted to contemporary university life. Referring to the scholarship of Sarah Parker, Andrea Weiss and Barbara Creed, I propose that the Carmilla series has been born out of two major literary and film traditions: the lesbian gothic and the status of the lesbian vampire in film history. Keywords: Lesbian, Queer theory, vampires, fanfiction, Gothic, literature, film, fandom, internet culture 1.1 Introduction series follows human Laura Hollis (Elise Bauman), her vampire lover Carmilla Karnstein (Natasha This essay explores the three traditions that Negovanlis), and their group of friends as they Carmilla, a YouTube web series, has grown out of: fight ancient gods, a hostile university the spectre of the lesbian in Gothic literature, the administration, and other supernatural beings. history of lesbian vampires in film, and Most of the series’ cast and crew are queer, contemporary vampire media. Drawing on these including producer Stephanie Ouaknine and story three traditions, Carmilla occupies a grey area editor Ellen Simpson, as well as actors Natasha between fan work and industrial product.