Abraham Lincoln Vampire Hunter Travesty As Historiographic Metafiction

kvarter Volume 06 • 2013 akademiskacademic quarter

Abraham Lincoln Vampire Hunter Travesty as Historiographic Metafiction

Jørgen Riber Christensen is associate professor at the Institute of Communi- cation, Aalborg University. Among his publications are Medietid 2.0 (2009) with Jane Kristensen, Mar- vellous Fantasy (ed., 2009), Monstrologi Frygtens manifestationer (ed., 2012) and articles within the fields of cultural analysis, the media, marketing, mu- seology and literature. Editor of Academic Quarter.

Political leaders and statesmen have regularly been depicted in the cinema, also American presidents, often as pure fiction as am- orously romantic in The American President (Rob Reiner, 1995) or as an action hero in Air Force One (Wolfgang Petersen, 1997). When it comes to films about real presidents these films mix the genre biopic (biographical film) with historiography, as the films drama- tize authentic historical figures and their personal as well as political lives. Cinematic biographies may create controversies as veracity can have fallen victim to the needs of the film script and the box office, and yet with an absurd title such asAbraham Lincoln Vampire Hunter (Timur Bekmambetov, 2012) this film can hardly claim to contain the truth about Lincoln’s life and his historical period. The more so, as the vampires of the title are the monsters with the traditional characteristics known from Gothic literature and horror films. The article will attempt to read Abraham Lincoln Vampire Hunter in the light of narratological theories and it will investigate whether the film’s genre hybridity or mashup characteristics as well as its travesty traits have enabled it to climb from meaningless late night entertainment to historiographic metafiction. Its initial and quite basic research question is whether Abra- ham Lincoln Vampire Hunter has in any way been able to tell the truth about the past? A part of this question is how apt the signifi-

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An Outline of Amer Volume 06 Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham The Reprieve: An Episode in the Life of Abraham Lincoln , which is a book handed out by the International Com It is a portrait of the sixteenth president of the United States, A brief view at the action and characters of the film says no. Based no. says film the of characters and action the at view brief A foreign foreign countries no (Gray, date). It is Lincoln that in this way be comes the official face of the U.S.A. abroad. Lincoln, the most ad 2000), is the subject of innu (Lindgren, American president mired and film in appearances of number large a and biographies merable Vi media since firsthis cinemaprobably appearance in 1908 in the tagraph silent The Internet Movie Database lists 56 films and media productions than more and 2013) (IMDb, titles their in Lincoln” “Abraham with a war between the living and the undead. When the South is losing the war Jefferson Davis conspires with the chief vampire to deploy hordes of invincible and invisible vampires at Gettysburg, and the But North only must untilface losing this battle and the whole war. Lincoln figures out to let the Northern army use silver weapons and it against wins the the vampires, battle. In 1865 the surviving to the theatre. and Lincoln goes have left the country, vampires of cover Abraham Lincoln that adorns the front ican History munication Embassy Agency, of the United States of America in of the film, JackBarts, who is also a plantation and slave owner. hunter by is trained as a vampire Lincoln, set on revenge, Young a Paul Bunyan- Lincoln acts as a “good” vampire. Henry Sturges, exterminator vampire axe-wielding silver expert, arts martial like, culminating in him being elected president until his political career puts an end to all this. The problem with slavery in the Southern States is also in reformulated the film, as the slaves not are only a the concentra for supply food main also the they are force; labour tion of the American vampire population in the South. In this way the film identifies the planter class and the Southern States with vampirism. When breaks out the it Civil is War in other words also cation of the vampire monster type is as a vehicle for the film’s of historiography? quite specific form on a secret personal diary he his wrote through life the film follows assassination in 1865.his 1818 until in boyhood Lincoln’s life from his yet records, historical and biographies Lincoln to true is film The actual vampires, of inclusion the by reformulated blatantly is history so that for instance the death of his mother in 1818 was not caused villains one of the chief vampire by milk sickness, but by a bite from quarter

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Volume 06 Jørgen Riber Christensen Jørgen : Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire Poetics John Locke Scripps wrote in the first is focused on in an article in is focused with the title “Aside Lincoln From the Film Vampires, pp. 43-44) …it is not the poet’s function to describe what has actually has what describe to function poet’s the not is …it that might happen, thathappened, but the kinds of thing in circumstances, are, is, that could happen because they either The probable or difference between necessary. the historian and the poet is not that the one writes in prose tells is that the one and the other in verse… The difference that things of kinds the of other the happened, has what of more something is poetry reason this For happen. might than attention serious of worthy more and philosophical history; for while poetry is concerned with universal 1970, (Aristotle, particular facts. of treats history truths, The erection of a house and the felling of the forest was the first work to Abraham be was done. young to engage in such but labor, he was large of his age, stalwart, and willing to An work. ax was at once placed in his hands, year, twenty-third his attained he until time that from and when not employed in labor on the farm, he was almost Then what is the relationship between history, here the historical the here history, between relationship the is what Then published biography of Lincoln in 1860: Aristotle’s claim that the historian writes about what has happened has what about writes historian the that claim Aristotle’s can be applied to the parts only of that describes Abraham the Lincoln, very documentedexistence of documents such as his personal life, actual historical episodes from and certain histori and locations the Emancipation Proclamation, and president was Lincoln that fact the as such film the in events cal that the American Civil actually War took place. In the film Lin coln’s ability to wield the axe to decapitate and kill vampires has in reality. foundation some thrice as many with just his surname. The question of historical ve historical of question The surname. his just with many as thrice racity of Lincoln films, in particular and with goodreason of Hunter Vampire Lincoln ham Times York 2011). Accuracy” (Cieply, Seeks in asked is question This vampires? the here fiction, and president, Aristotle in his a general sense by quarter

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when one con Abraham Lincoln . The production . The production Volume 06 Jørgen Riber Christensen Jørgen : biopic, historiography, : biopic, historiography, Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire Rick Altman treats genre as a dynamic concept, and as a genre treats Altman Rick ? Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire Film/Genre constantly wielding that most useful implement. (Scripps, implement. useful most that wielding constantly 1860/1900, p. 17) Check box-office information on the new film and reassess the film. formula as a basis for another Use the revised (Altman, 1999, p. 38) indefinitely. Continue the process From the box-office information, identify a successful film. From made it successful. to discover what Analyse the film in order formula for success. the assumed Make another film stressing success formula accordingly. In 4 4 6 regarding when sense double a in discernible clearly is method This of the production motivation for Seth Grahame-Smith’s novel can in itself be seen in his description of the genesis of film genres as a producer’s a is as game genres film of genesis the of description his for highly relevant siders the fact that the film is based on the Seth Grahame-Smith novel with the same title and the history of his literary production. inciden producer’she Altman’s which game, in steps six are There tally bases on early biopics: 1 2 3 question of form: ”The difference between the historian and the poet is not that the one writes in prose and the other in verse” it is nevertheless pertinent to consider the way narration functions in the film, especially so as both elementshistoriography andfiction, are merged in one text. Then what is the genre of Hunter Vampire A Question of Genre con when play into come terms genre-related four least at Initially, sidering hybridity or mashup, and travesty. The fictional,or usingAristotle’s term poetic, elements of the film universe. film’s the into vampires the of inclusion the obviously are Though ”worthy it obvious of is that not se they so are apparently rious attention”, they can nevertheless be examined and analysed so, if and film, the in truths” ”universal any there Are meaningfully. how are they expressed? Aristotle Though stresses that it is not a quarter

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Pride and Prejudice Prejudice and Pride being boxed up as The New Times York Volume 06 Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Abraham Lincoln Vampire Pierre Sorlin describes the Pierre Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham were gentry and could be threatened threatened be could and gentry were . Large-scale history with the and Civil War The Film in History , which became number three on the monsters were aristocratic in so far as vampires since Historical films are all fictional. By this I mean that even if even that I mean this By fictional. all are films Historical in a they all have to reconstruct based on records, they are show. they what of part greater the way imaginary purely Scenery and costumes similar to those of the period repre Century Fox decided to an adaptation produce of it. Hybridity is also found in the historiographic set-up of Hybridity is also found in the historiographic th tics and history beyond the personal level must necessarily loom loom necessarily must level personal history beyond the and tics large in the film. In historical film in a way that allows for biographical elements: was the ancient, Southern planter-class that the vampires in the latter this and brings us to the historiographic as represented, film pects of the film. Hunter Lincoln Vampire history in the form is matched by small-scale Lincoln’s presidency of Lincoln’s personal life, and his family plays an important, if not decisive role in the plot of the film. Using the definition of a biopic or biographical film that it is the dramatization of the life of an ac tual itperson isor obviousa thatfilmed when biography, this per poli a president, a leader or as such historical importance, son is of types was regarded types as was lucrative. regarded It could reproduced, be profitably and the revised formula of the first novel could be the basis of an other film.Now instead America’s of Austen a novel Regency Jane most popular leader and was president employed as an ingredient type monster similar a with but zombies, not with mashed-up be to change of monsters seems ap of the category the living dead. This the Bennets in Austen’s protagonists, in the sense that propriate and Zombies Pride and Prejudice by the proletarian zombies, whereas in Hunter Stoker’s Count Dracula it have been Appropriately, upper-class. the staggering sales success of his earlier novel novel earlier his of success sales staggering the and Zombies bestseller list and number 27 on Amazon.co.uk’s 300 bestseller list (Flood, 2009). Though Grahame-Smith feared “the mash-up guy” he nevertheless wrote on in this hybrid genre the next year with the combination of Lincoln and vampires, and 20 classical literature of merging Smith’s mash-up formula consisting or a historically high-ranking personage with traditional monster quarter

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the continuous Pride and Prejudice Prejudice and Pride Volume 06 Abraham Lincoln Vam Jørgen Riber Christensen Jørgen Pride and Prejudice and Zom Pride and Prejudice Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire was travesty, perhaps with some respectful pastiche ele pastiche respectful some with perhaps travesty, was , i.e. a Lincoln figure and and in his the biography, same sented can be based on texts and pictures, but the actors in and expressions gestures, the for responsible are alone tonations. Most historical films… combine actual events and completely fictitious individual episodes. It isvery seldom that a film does not pass from the general to the by concentrating on per interest and arouse particular, forms of the ap direct sonal cases; this is one of the most peal to identification, an appeal which is in fact not spe p. 21) cific to the cinema. (Sorlin, 1980, the classical pre-existing text is retained in retained is text pre-existing classical the The genre of Grahame-Smith’s bestseller novel bestseller Grahame-Smith’s of genre The traditional monster type to a canon-worthy literary Jane Austen novel. In the case of genre-redefinition as described by Altman consists of transference the from literary domain into the historical and political one, where As in Austen is substituted by Lincoln. bies Hunter pire way as a zombie infestation was added to the Jane Austen novel, a battlefield ensuring a decisive victory The in film the manages war. man it and history, with story personal the merge to words other in Lincoln’s authentic detail from ages to transform a biographically life, his dexterity with an axe, into a defining iconic quality in the his of merging the whether a question is It film. the of part fictional this answer to seek to and successful, similarly is vampires with tory useful. can be question a look at the travesty genre Zombies and ments, all within the literary domain (Christensen, 2010, pp. 76-77). a of addition the were novel this of characteristics genre-specific The The personal aspects with their appeal to identification, which Sor lin stresses, are present with much pathos in the Lincoln film. The aesthetics for instance, is accompanied by death of Lincoln’s mother, not is it but speed; film slow-motion and music underscoring both of that family matters. In some only on the level of audience reception of the film’s first scenes it becomes apparent that it is Lincoln’s par of justice. It is of his ideology and his sense the source ents that are all are we free, is man every “Until that says 1818 in who mother his together with members of theslaves”, and in 1863 it is his wife who Underground Railroad manages to bring the silver weapons to the quarter

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Abraham Lincoln Volume 06 Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham rard rard Genette›s treatment of the travesty é as burlesque travesty. It is to more rewarding as con burlesque travesty. coach is driving off to Ford’s Theatre in front of the White House, the House, White the of front in Theatre Ford’s to off driving is coach camera tilt up so that a finished Monument becomes visible, lit by A can be seen driving. cars electric lights and in the far background helicopter then descends, the camera moves back, and now it be in displayed on an iPhone and that this picture comes apparent again captions and graphics are superimposed on it: “Fox 5 News” and “Live”. The iPhone is in the hands of a bar guest (a cameo ap pearance by Seth Grahame-Smith), who is then approached by the cal, biographical text that comes into focus, as slaveholder mentality slaveholder as focus, into comes that text biographical cal, by the film is characterized as monstrous.The slaveholders are de subtle In a more vampires. picted as cannibalistic, blood-sucking the past and the modern way, present are tied together in the film’s prelude and by its coda. The first 15 seconds of the actual film con Monument in pres the Washington sists of a travelling shot around ent-day with Washington modern buildings in the background. Then there is a slow dissolve that brings the film into the past. The to up halfway reached only has it and built, being now is Monument caption is superimposed: “April 14, 1865”. A height. its present-day As Lincoln’s In the coda the opposite movement in time takes place. with regard with to regard taste and cultural capital than history writing and biographies of great leaders, it is difficult to define Hunter Vampire sider the question whether the film can then be characterized as a modern travesty? A closer look at the way the film itself combines the past and past persons and events with modern times, i.e. today vam added the that stressed be must it all, of First answers. give can of a representatives belong to the past. They are in themselves pires It War. Civil the by abolished was that system economic slaveholder ethical and ideo politically correct is the modern rather obvious and logical disgust with slavery that is a travesty addition to the histori Southern vampire population was added to the historical Lincoln figure and his world. In G an of form the in amplification with hypotext a as it defines he genre or burlesque one, form of travesty is the classical addition to it. One in which the added element is at a lower stylistic level than the hy is another and effect, comical and amusing an producing thus potext the in modern which travesty, the addition consists of an updating 1982/1997, (Genette, audience modern a to text classical earlier an of p. 260). Though vampires and the horror genre are at a lower level quarter

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Volume 06 Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham The Eighteenth Brumaire The Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire was published Karl Marx used the vampire Dracula excessive capitalism is described by Marx with the vam not present when Grahame-Smith identifies Southern slaveholders with vampires. He retains the original Stoker-based, feudal charac scene film’s the in and class, planter the with vampire the of teristics with the ball at the Southern mansion of the baronial chief vampire apology for slavery delivers an illustrated Adam, the vampire other since they invent the ages: “Men have enslaved each through he combines his aristo them for doing it…”, and ed gods to forgive cratic mode of living in this historical period of a war between the Grundrisse pire metaphor (Neocleous, M., 2003/2006). Among others, Francis of the reading 1988) has developed this economic (Moretti, Moretti metaphor a as Stoker’s Dracula Bram describing into figure vampire for monopoly capitalism, which threatened the era of earlier Victo that fact the with somewhat struggles Moretti capitalism. liberal rian of a Dracula historical is the stagea vampire count, a representative earlier than capitalism, namely feudalism: “the nineteenth-century in the guise of Count is able to imagine monopoly only bourgeois lands distant of relic the past, the of figure the aristocrat, the Dracula, and dark ages.” (Moretti, 1988, pp. 92-93) This historical problem is monster type, vampires have been employed as a metaphor for a monster type, vampires before years 30 1867, in Already category. economic and historical Bram Stoker’s metaphor to characterize an economic system as when he describes prolon “The working-day: the extend to need incessant capitalism’s into gation of the working-day beyond the limits of the natural day, It quenches only in a slight degree the night, only acts as a palliative. 1867/1974,(Marx, labour.” of blood living the for thirst vampire the byonly lives vampire-like, which, labour dead is “Capital or 245) p. labour it sucks.” the more and lives the more, sucking living labour, (Marx, 1867/1974, p. 224) Also in immortal, “good” vampire Henry Sturges in exactly the same way and Lincoln with as in the he a same approached bar words back in or placed are present the and past the between connection This 1827. of the merging and one can claim that the story, isolated in a frame rather external. remains film in the past with the present as a Semi-motivated Sign Vampires travesty element in The crucial the Southern vampire population. This is not the first time that the quarter

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Interview with Volume 06 Jørgen Riber Christensen Jørgen adapted from adapted from Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham television series television series series of novels by Charlaine Harris True Blood True Bon Temps in Louisiana. Bon Temps (novel 1976, film 1994, director Neil Jordan) are Southern are Jordan) Neil director 1994, film 1976, (novel The vampire as a sign has no referent in the real world. It has only has It world. real the in referent no has sign a as vampire The To understand these different meanings attached to the vampire to the vampire meanings attached understand these different To a certain physical likeness between signifier and signified. With suchsemioticians later semiotics, visual in departure of point their as Kress and van Leeuwen signs regard in general as having some form of motivation, as Kress and van Leeuwen concentrate on the various physical media of representation and reproduction, which p. 159, p. 163). and van Leeuwen, 1996, carry the sign (Kress refer solely which signifieds Because referent. a as concept mental a (Fiske, 1982/1990, pp. 41-60), and both Peirce and Saussure see thissee Saussure and Peirce both and 41-60), pp. 1982/1990, (Fiske, relationship between the sign and its referent as placed between two poles. On the one hand, the sign is as entirely when arbitrary, ”Baum” called is English in ”tree” as to referred is what instance for in German. On the other hand, the sign may be iconic (Peirce’s degree some to determined is signifier the of form the that so term), that is this for term Another signified. the i.e. represents, it what by aor Englishman an when instance for that so motivated, is sign the German depicts a tree visually as in a drawing or in a photo, the two signs that result have much more in common than ”tree” and but it is determined by ”Baum”. The motivated sign is not arbitrary, figure it may be necessary toreturn to the indisputable fact that they filmin appear literature, frequently do Yet not vampires exist. and other media. One may then ask what they and represent what In other we words need a semiotical of rephrasing the they signify. of a very brief discussion of the arbitrary nature question, and here to something other refers a sign the sign seems useful. Basically, than itself, but there is no one-to-one relationship between a sign, which has a physical form, and a physical object in the world. The relationship between a sign and its i.e. referent, what it represents, is differently perceived. Most semioticians agree that the significa being a mental concept. of the sign is based on the referent tion South and the industrialized North with the pre-feudal economic Gra that fact The life. personal 5,000-year-old his during formations is not population in the South the vampire hame-Smith situated in vampires Rice’s Anne precedents. recent without the Vampire gentlemen; the Mysteries ern Vampire takes place in quarter

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Volume 06 Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham is so obviously a composition. The In fact, the film is more story than history, yetIn itfact, doesthe containfilm a is his story more thanhistory, of the mashup. The meeting point as part toriographic discourse between the entirely fictitious vampire discourse and the historio that here is it that sense literal the in significant is discourse graphic it as epistemological is which created, is film the of signification the meeting concrete the film the In past. the about knowledge debates point is Lincoln’s personal and secret diary and record, which be comes a dominant part of the film’s voice over, and which is pre and vampires is certainly Also striking. as we have seen, the film’s together the past and the present attempt in its frame story at tying draws the audience’s attention to the fact that it is watching a film with mashup characteristics. The whole the dualityfilm from of its monsters can be very title to its interplay of history and vampire combination its though that metafiction of kind the as characterized of discourses becomes explicitly inself-reflexive its of treatment its subject and questions the mimetic relationship between itself and It follows that the argumentation of the reality. film is that as it is a textual construction, so its depiction of the past is also a construc tion, and not a straightforward rendition of past events as history. like be characterized as a can semiotically for instance vampires semi-motivated sign open to signification, and this signification is cultural history. changeable through as Historiographic Metafiction Travesty Conclusion: Hunter Abraham Lincoln Vampire film explicitly stresses the artificiality of itself through its mashup with its construction unlikely combination of discourses, such as for example the action scenes and their martial arts aesthetics with Abraham Lincoln’s authentic verbatim voice-overs of the historical historiographyof concept conglomerate overall the and speeches, to mental concepts are highly dependent on the culture in which so as they do unstable, the more labile and used, they are they are not have any referent in the real world, so to speak. The vampire, then, is open to Vampiresdifferent aresignifications. not arbitrary signs. In the (inter)textual and cultural history of the vampire all but as it has been seen above certain characteristics, share vampires economic an in employed being sign vampire the of example the in (Christensen, signification its in variations to open is sign this sense, 2012, p. 45), and this article suggests that non-existent monsters quarter

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Abraham Lin Abraham Volume 06 that it borders on the on that it borders Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham ) style of its narrative and of the these two have been included in the in included been have two these gravis Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire , yet it may be said to have become vulgarized, yet it may be said to have become Abraham Lincoln Vampire Hunter Lincoln Vampire Abraham We can We now return to Aristotle’s distinction between the histori graphic metafiction. Historiographic metafiction is a textual type its and historiography and fiction between split this thematizes that union, or historiographic metafiction may be defined as texts that have an intention of depicting (parts of) history in an explicitly self- is history way (the text the of form the way this In manner. reflexive depicted) becomes part of the text’s thematics, and again we have returned to Aristotle’s remarks about textual form: “the one writes of this article that and the other in verse”. It is the conclusion in prose characters’ speeches indeed, into vulgar a style” familiar, (Genette, discussion about the impossibil 1982/1997, p. 58). The postmodern in there is history about truth the for search the of ity Hunter coln Vampire or trivialized in the film. In history. ographer and the poet and his separation of story from Hunter Vampire Lincoln Abraham same text, but not merged. There is the story about vampires, and Abraham Lincoln. American past leader is the history of the there This way of combining history and fiction has been called historio tensibly apparent. This old topic about the postmodern text that it for that matter, or reality about history, truth to access renounces discourses, is so obvious in constructed are since history and reality of the case is a point to be made yet in this case there it here, obvious to re-state ontological postmodern themes, about these epistemological and goals has itsas commercial it may be claimed that the film through coincidence that the mashup formbanalized them. It seems to be no Ge of the film has manifested itself not in pastiche, but intravesty. trans means “it way: this in travesty of style the characterizes nette posing the consistently noble ( sented as a fictitious historical document. It is this record in particu in record this is It document. historical fictitious a as sented document This fake historical and history. lar that is both story stresses the lesson that can be learnt from the film that it is always it expresses Hutcheon Linda as or past, true a recreate to impossible his of self-awareness theoretical “Its literature: in tendency a about tory and fiction as human constructs (historiographicmetafiction) is made the grounds for its rethinking and of rewording the forms 1988/2000, p. 5), and so the and contents of the past” (Hutcheon, artificiality of past history of quarter

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Monstrologi Monstrologi , 05.02.2013. , The Interna nr. 1, fall 2010, 1, fall 2010, nr. http://www.guar Volume 06 Jørgen Riber Christensen Jørgen Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham , May 9, 2011. Available online: online: Available , May 9, 2011. Akademisk kvarter , London: Longman. can be as regarded a trivialized ex in Horace Longinus Classical Literary Texts

, London: bfi Publishing. , Aalborg Universitetsforlag: Aalborg, Aalborg, Universitetsforlag: Aalborg , Abraham Lincoln Vampire Hunter Abraham Lincoln Vampire Palimpsests Literature in the Second Degree in Literature Palimpsests An Outline of American History Metafiction Introduction to Communication Studies Communication to Introduction Aristotle Film/Genre , 9 April 2009. Available online: Available April 2009. , 9 Jane Austen in zombie rampage up the book charts. book the up rampage zombie in Austen Jane Available online http://www .akademiskkvarter. Available online http://www The New Times York 05.02.2013. , , 06.02.2013. , coln-vampire-hunter-rewrites-history.html?_r=0 Constable and Robinson Ltd. Accuracy, Accuracy, http://www.nytimes.com/2011/05/10/movies/abraham- lin Routledge. The Guardian Harmondsworth: Penguin Books. and Zombies and Prejudice pp. 72-77. hum.aau.dk/pdf/vol1/Joergen_Riber_Christensen_Vol1. pdf J. Riber and Steen Ledet Christiansen, ed., 2012. manifestationer Frygtens pp. 45-76. University of Nebraska Press: Lincoln. University of Nebraska Press: Embassy of the United States of Agency, tional Communication America. dian.co.uk/books/2009/apr/09/austen-zombie-pride-preju dice Grahame-Smith, S. 2010. Genette, G. 1982/1997. date. no al., et W. Gray, Cieply, M., Aside 2011. From Cieply, Lincoln the Film Vampires, Seeks Currie, M., ed., 1995. Fiske, J., 1982/1990. 2009. A., Flood, Aristotle et al., 1970. 2010. Kødet som Christensen, abjekt J. Austen hos Riber, Jane Christensen, in Monstervisualiseringer 2012. Riber, J. Christensen Abraham Lincoln Vampire Hunter Vampire Abraham Lincoln ample of historiographic metafiction. Seth Grahame-Smith’s meth as a popular form of mashup can be regarded od of hybridity and historiographic metafiction with travesty as the feature that ques and this is its special trade mark. tions historiography, References Altman, R. 1999. quarter

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, Blackwell: . New Jersey: http://ricardo. http://ricardo. , Volume 24, Num 24, Volume , Volume 06 Jørgen Riber Christensen Jørgen Available online: Available http://www.ebooksread. ents. November 16, 2000. ents. November 16, 2000. Reading Images The GrammarReading Images The Abraham Lincoln Vampire Hunter Vampire Lincoln Abraham Restaging the Past the Restaging , Progress Publishers: Moscow. Publishers: Progress ,

Life of Abraham Lincoln Life , 10.02.2013. A Poetics of Postmodernism History, Theory, Theory, Poetics of Postmodernism History, A , 06.02.2013. History of Political Thought Capital Volume 1 Capital Volume , Routledge: London. Signs Taken for Signs Wonders: Essays Taken in the Sociology of . Verso Books: New York. Books: New . Verso The Film in History The , 05.02.2013. , London: Routledge. lEconOfTheDead.pdf com/authors-eng/j-l-john-locke-scripps/the-first-published- com/authors-eng/j-l-john-locke-scripps/the-first-published- life-of-abraham-lincoln-irc/1-the-first-published-life-of-abra ham-lincoln-irc.shtml Oxford. Presidents-4 Literary Forms in Vampires Marx’s ber 4, 2003, pp. 668-684 online: (17). Available ecn.wfu.edu/~cottrell/ope/archive/0604/att-0138/01-Politi ca online: Available Cranbury Press. The Fiction 05.02.2013. ham Lincoln&s=tt&ref_=fn_al_tt_mr, Design of Visual History Project. International World kipedia.org/wiki/Abraham_lincoln#cite_note-Ranking_ Marx, K., 1867/1974. K., Marx, 1988. Moretti, F., Neocleous, M., 2003/2006. The Political Economy of the Dead: Scripps, J. Locke, 1860/1900. Hutcheon, L., 1988/2000. Hutcheon, L., 1988/2000. IMDb, 2013, available online: www.imdb.com/find?q= Abra 1996. Leeuwen, van Theo and G. Kress Lindgren, J., 2000. Ranking Our Presid Sorlin, P., 1980. P., Sorlin, quarter

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