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Since Bram Stoker’s tale of Count Dracula struck a chord with a sensation-hungry public, vampires have remained a popular part of horror in cinema. Since the turn of the millennium, vampires have now become a mainstay of horror TV. Programmes like True Blood (2008–2014) and The Vampire Diaries (2009–2017) have propelled the vampire into the home.

This chapter will investigate the problematic, but often sympathetic relationship between vampires and humans in The Vampire Diaries.

This chapter explores the role of postmodern intertextuality in Neil Jordan’s 2012 vampire film Byzantium. This intertextuality serves to place the film in dialogue with earlier vampire fiction, in particular the 1970s cycle of British and European erotic vampire films such as Daughters of Darkness and The Vampire Lovers from Hammer Films. Byzantium recalls these earlier texts structurally and thematically, both through direct reference and more oblique allusions.

While Fredric Jameson characterizes postmodern intertextuality as mere nostalgia and the imitation of ‘dead styles’, feminist postmodern theorists such as Linda Hutcheon contend argue for the political potential of postmodernism. This chapter proposes that the postmodern intertextuality of Byzantium is a critical intertextuality, and that the foregrounding of storytelling, writing, and rewriting in the film draws attention to the ways in which the intertextuality of Byzantium is not merely a return to past forms but also a reworking of them.

Taking up the work of Linda Hutcheon and Catherine Constable, this chapter demonstrates the ways in which Byzantium critically reworks aspects of earlier vampire fiction in order to critique and expand the representation of the female vampire and through this explore issues relating to female subjectivity and community.

This chapter seeks to compare and contrast two compelling portrayals of the bisexual or ‘gender-blind’ vampire: The Hunger (1983) and American Horror Story: Hotel (2015). These texts present a number of notable differences. They were released over 30 years apart and they also diverge markedly in form: Hotel is a 12-episode television serial, whilst The Hunger is a tight 97-minute-feature film. Whilst these differences highlight shifts in the format of horror more broadly, they also facilitate the reflection on whether the portrayal of the bisexual vampire has dramatically shifted alongside these changes. Such a reflection is ripe with potential given that in addition to their differences, both texts also share significant aesthetic and narrative similarities. Both Hotel and The Hunger foreground performativity and feature female protagonists who defy heteronormative understandings of gender and sexuality. Undoubtedly, Hotel can be read as an aesthetic homage to The Hunger. However, whether Hotel also echoes some of the more conservative aspects of the earlier film’s politics is a more complex question. Focusing on the ways that these female vampire protagonists, as well as a selection of their lovers and victims, are gendered, this chapter will illuminate a number of developments and lingering issues in the ways that horror depicts (or circumvents) complex facets of the relationship between bisexuality and gender.

The purpose of this paper is to investigate how Marxist accounts of capitalism and capitalists as “vampiric” and “cannibalistic” can challenge the exploitation underlying “monstrosity” of the diverse “liberal organization”.

To bear out this argument, it will critically turn to Marx's original description of capitalism as “vampire” like. It will do so by examining a range of theoretical and existing empirical research related themes of contemporary diversity.

The paper argues that in order to avoid becoming capitalist monsters it is imperative to adopt an explicitly anti-capitalist Marxist perspective centring on themes of a “monstrous” capitalism. Capitalist organizations, not only “suck the blood of workers” but turns them into exploiting vampires, feeding on others for own profit and promotion. Yet it also expands on such readings by emphasizing the liberating possibilities that a more contemporary view of “monsters” stressing radical diversity and difference can make to this Marxist critique.

To this end, it illuminates how a perspective uniting these ideals, termed here as a “revolutionary monstrous humanism”, can effectively challenge the dehumanization of managerial control and market ideologies while also fighting for the right of individuals to express their heterogeneous and always evolving unique cultural identities.

This essay emerges from the author’s ongoing attempts to explore the implications of the postmodern condition on the activity called public administration. The approach is unorthodox; mixing current international events with history of science, administrative theory, and ending with an intriguing science fiction novel. The central theme of the essay is the myth of progress connected with Michael Spicer’s excellent analysis of competing theories of state. Whatever else might be said of the essay, the argument comes full circle. It begins with the idea that governing is hard work and ends on the same note.