CFP: Spoofing the Vampire: What We Do in the Shadows and the Comedic Vampire

Edited collection
Editors: Simon Bacon, Ashley Szanter
Stichtag: 26.07.2019

Editors Bacon and Szanter seek original essays for an edited collection on What We Do in the Shadows (2014) and the Comedic Vampire. While the majority of films, television series, comics, games and books portray the vampire as a deeply dramatic, Gothic figure, there are many examples of the vampire and its generic trappings as a source of comedy. Much of this is down to genuine comedic moments and situations, but often, and of particular interest here, is the parodying, pastiching, and self-referencing within the vampire genre itself  and the spoofing of other vampire narratives. What We Do in the Shadows, both the original movie and the television series, is a well known example of this, but as early and as varied  as Abbott and Costello Meet Frankenstein (Barton: 1948) The Munsters (Burns: 1964-66), and Dance of the Vampires(Polanski: 1967),  purposely nod and wink at earlier vampire texts. The vampire is nothing other than egalitarian in its targets choosing political, sexual, social and religious topics to lampoon, as well as innocent children, lovelorn teenagers, and the nostalgic elderly, the comedic vampire has spread its bat wings and taken a pretty bumpy flight into our homes and canons. This collection will explore the figure of the comedic vampire in all its incarnations and the implications of taking a beloved dramatic figure a little less seriously.

Chapters in the proposed collection can focus on aspects or intersections between one or more of the following categories:

  • Notable comedic vampire film What We Do in the Shadows (2014) by Taika Waititi and Jemaine Clement or the recent FX television adaptation of the same name.
  • Examinations of the place/function of comedy in the vampire film genre. What role should comedy, laughter, or satire hold within the broader vampire zeitgeist? Consider Dark Shadows (2012), Fanged Up(2017), Vampires Suck (2010), Hotel Transylvania film series (2012-2018), Vampire Academy (2014), Only Lovers Left Alive (2013), Suck (2009), Mom’s Got a Date with a Vampire (2000), Dracula: Dead and Loving it(1995), Son of Dracula (1974), or any others not mentioned on this list.
  • Address contemporary comedic vampire fictions through a particular scholarly lens.
  • Political and social satire and/or comedy in a vampire work of fiction.
  • Explore the comedic vampire phenomenon in written vampire fiction. Texts for consideration may include those by MaryJanice Davidson, Christopher Moore, Charlaine Harris, Gerry Bartlett, and especially the Fat Vampire series by Johnny B. Truant.
  • The comedic vampire as the result of genre exhaustion for both the traditional vampire genre as well as the paranormal genre. Have we taken the dramatic vampire to its limits? Have audiences bored of the dramatic vampire tropes?
  • Nationalism/national identity through comedy: Vampires (2010), Ko?ysanka (2010), Strigoi (2009).
  • (Un)intentional comedy extracted from serious vampire content: Twilight series, True Blood, Vampire Diaries, The Originals, Buffy the Vampire Slayer [film or series], The Lost Boys, Dark Shadows television series, Blade film series. Could either be humor woven into the drama or external parodies.
  • Address comedic vampires and intersectionality. Of particular interest to the editors are non-binary gender and sexuality, feminism, and alternative masculinity.
  • The use of comedic vampires with narratives meant for children and young adults: Count Von Count, Count Duckula, Bunnicula, Young Dracula, Vampirina, Scream Street, and Vampire Sisters.
    Abstract Due Dates

Preference will be given to abstracts received before Friday 26th July 2019. Abstracts should be no longer than 350 words and be accompanied by a current CV.

Final manuscripts of 5,000-6,500 words should be submitted in MLA style by Friday 28th February 2020.

Contact us and send abstracts to

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