From blood bonds to brand loyalties: Poppy Z. Brite’s Lost Souls and Alan Ball’s True Blood
This article reads two contemporary vampire narratives, Poppy Z. Brite’s Lost Souls and Alan Ball’s TV series True Blood (2009–2011), in terms of René Girard’s theory of mimetic violence and sacrificial crisis. Through complex representations of violence, bloodletting and, in the case of True Blood, the commoditization of blood and blood consumption, these works depict communities on the verge of sacrificial crisis, while also gesturing towards alternative economies of blood through nuanced ‘queerings’ of the vampire community.
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Document Type: Research Article
Affiliations: Leeds Metropolitan University
Publication date: April 30, 2012
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- Horror Studies intends to serve the international academic community in the humanities and specifically those scholars interested in horror. Exclusively examining horror, this journal will provide interested professionals with an opportunity to read outstanding scholarship from a variety of disciplinary perspectives, including work conceived as interdisciplinary. By expanding the conversation to include specialists concerned with diverse historical periods, varied geography, and a wide variety of expressive media, this journal will inform and stimulate anyone interested in a wider and deeper understanding of horror
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