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“Is It My Fault My Fangs Come out When I'm Turned On?” a Feminist Analysis of Pam and Jessica's Vampire Sexuality in Th

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“Is It My Fault My Fangs Come out When I'm Turned On?” a Feminist Analysis of Pam and Jessica's Vampire Sexuality in Th “IS IT MY FAULT MY FANGS COME OUT WHEN I’M TURNED ON?” A FEMINIST ANALYSIS OF PAM AND JESSICA’S VAMPIRE SEXUALITY IN THE HBO TELEVISION SERIES TRUE BLOOD by Ashley Anderson A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton Florida August 2012 Copyright by Ashley Anderson 2012 ii ACKNOWLEDGEMENTS I would like to express sincere gratitude to my research chair Dr. Christine Scodari for her patience and guidance throughout this thesis project. I would also like to thank my other committee members, Dr. Becky Mulvaney and Dr. Christopher Robé for their encouragement and enthusiasm. Finally, I would like to thank my boyfriend James Mantrozos for his overwhelming support and love throughout the ups and downs of this entire thesis manuscript. iv ABSTRACT Author: Ashley Anderson Title: “Is It My Fault My Fangs Come Out When I’m Turned On”? A Feminist Analysis of Pam and Jessica’s Vampire Sexuality In The HBO Television Series True Blood Institution: Florida Atlantic University Thesis Advisor: Dr. Christine Scodari Degree: Master of Arts Year: 2012 This thesis analyzes Pamela Swynford De Beaufort and Jessica Hamby from the provocative HBO series, True Blood , in order to determine what hegemonic ideologies are reinforced through their sexual representation in the series. Through analysis based on concepts of the “ vagina dentata” and “monstrous feminine,” and in determining whether they fall victim to the Madonna/whore dichotomy, the question of Pam and Jessica’s autonomous existence falls under scrutiny—particularly in regards to their sexuality. Feminist scholarship is vital to this research in order to examine the often fetishized and marginalized sexuality of women who dare to exhibit transgressive behaviors. This thesis concentrates on Seasons One through Four of the series, and also utilizes meta-text from the official website related to each character in order to help answer the posed research questions. v “IS IT MY FAULT MY FANGS COME OUT WHEN I’M TURNED ON?” A FEMINIST ANALYSIS OF PAM AND JESSICA’S VAMPIRE SEXUALITY IN THE HBO TELEVISION SERIES TRUE BLOOD List of Figures .................................................................................................................. viii Chapter One: Introduction .................................................................................................. 1 Background and Justification ...................................................................................... 1 Issues to be Addressed .................................................................................................7 Literature Review .........................................................................................................9 Vampires In Contemporary Media And Culture .................................................... 9 Feminist Theory and Research ...............................................................................14 Women and Sexuality in the Media .......................................................................20 The Virgin/Whore Dichotomy in Horror Film, TV and Society ...........................23 True Blood , Textual Analysis and Sexual Discourse.............................................25 Methodological Design ..............................................................................................26 Chapter Preview .........................................................................................................27 Chapter Two: Textual Analysis On Pamela Swynford De Beaufort ................................ 29 Introduction ........................................................................................................... 29 Seasons One/Two: An Introduction To Devotion ................................................ 39 vi Seasons Three/Four: Love and Betrayal ................................................................44 Chapter Three: Textual Analysis on Jessica Hamby .........................................................58 Introduction ........................................................................................................... 58 Seasons One/Two:”Is it my fault my fangs come out when I’m turned on?” .......60 Seasons Three/Four: “I’m not stupid, I’m just unfaithful” ...................................71 Chapter Four: Conclusion ..................................................................................................85 Suggestions for Future Research ...........................................................................94 Bibliography ......................................................................................................................97 vii FIGURES Figure 1. True Blood Season One/series cover art ............................................................ 12 Figure 2. True Blood Season One/series cover art tilted vertically to display vagina dentata ................................................................................................................... 12 Figure 3. Pam Season 3 Episode 1 .................................................................................... 30 Figure 4. Pam chained down by the Majestor Season 3 Episode 4 .................................. 46 Figure 5. Pam’s rotting face after being cursed by Marnie, Season 4 Episode 5 ............ 54 Figure 6. Jessica promo picture for Season Two .............................................................. 61 viii CHAPTER ONE INTRODUCTION “Well I ain’t gonna just sit pretty for him. I’ve never been that way and I never will be.” Background and Justification For centuries, the vampire has been a mythical creature that flooded literature and folklore, serving as a metaphor to describe people’s fears of colonization and the fear of counter- hegemonic discourses they viewed as the Other--who was presented as mostly female and/or homosexual in nature. Within the last century, vampires have moved from literature and folklore to films and, more recently, TV. With the help of film, vampires have shifted from the frightening imagery of F.W. Murnau’s Nosferatu (1922) and the ever symbolic, quintessential Dracula of Tod Browning’s Dracula (1931), starring Bella Lugosi to the “bad boy” vampire of the 1990s and the millennial “pretty boy” vampire, with women vampires serving as mostly sexual objects or representations of a feared sexual woman. Most vampire films up until the start of the 21 st century held true to the notions of what made a believable, entertaining vampire: male, gory and evil. These vampires are usually defeated by another (usually white) heterosexual male who brings hegemonic order back to the world. With the evolution of vampire stories in our society, it is necessary to analyze what ideologies are being reinforced and challenged, as 1 vampires are a known metaphor of society’s subconscious 1. In other words, what messages are these metaphors signaling to viewers, particularly concerning women? Vampires have been discussed at great length in the literature, media and folklore worlds. Discussions of vampire metaphors have shown how these mythical creatures are in fact important to analyze and discuss as they serve to express humanity’s repressed fears and desires. As Nina Auerbach confirms in Our Vampires, Ourselves , we each get the vampire we desire. This means that depending on what political and societal anxieties are prevalent at the time, the vampire that becomes popular for that era will illustrate theses fears through characteristics displayed in films, books, and TV shows. An example of this projection can be shown through the political discourse of the early-to-mid 1990s, when films such as The Lost Boys (1987), Interview with a Vampire (1994) and Buffy the Vampire Slayer (1997) all expressed the “bad boy” vampire—the vampire Other as a threat to the social order—an ideology that encompassed that era of horror film. The political arena of the 1990s was filled with in-house invaders—in other words, terror by Americans done to Americans. The image of the happy nuclear family from decades past had been replaced with the fear of the kid next door and who/what might disrupt the quiet, safe neighborhood. Feeling safe while in public spaces was fleeting as the decade passed. Not being able to “recognize” the enemy—as decades earlier was illustrated so well for Americans, such as in World War II propaganda—was creating a universal fear, and this showed in the popular culture of the time. The image of vampires during the 1 According to scholars such as Nina Auerbach, Carol J. Clover, Peter Day, Bram Dijkstra and Vera Dika, to name a few. 2 1980s/1990s illustrated this fear of the unknown by looking like “normal” human beings, and thus being able to penetrate into our “safe” spaces undetected. Although perhaps not the most recognizable film in terms of creating vampires as “normal” human beings, Interview with a Vampire (1994)—a widely successful box office hit—played to the audience’s fears of the unknown enemy. It did this by placing the audience in the mindset of the characters’ turn of the century world, thus allowing the audience to believe that it was in fact living in this turn of the century world, where these Others (or vampires) were allowed to enter into the audience’s subconscious safely—for the time being. In other words, through the power of film narrative, audience members were able to accept Louis (Brad Pitt) as a troubled
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