Acknowledgments vii
Foreword: We Are, All of Us, Renfields
John Edgar Browning 1
Introduction
Simon Bacon 3
Part I-Dracula: Adaptations and Re-Creations
We Are Dracula: Penny Dreadful and the Dracula Megatext
Jeffrey Andrew Weinstock 20
Better Parts: Redemptive Portrayals of Count Dracula as Vlad the Impaler in Selected Film Adaptions of Stoker's Dracula
Wayne Derek Pigeon-Coote 35
I've crossed oceans of versions to find you: Remediating Mina from Novel to Screen in Bram Stoker's Dracula (1992)
Cathleen Allyn Conway 47
Part II-Across Mediums, Platforms and Levels of Engagement
Byzantium Stage to Screen
Gina Wisker 60
Pixel Parasites: The Virtual Vampire as Enemy, Ally and Self in Video Games
Shawn Edrei 76
Vampire as Doll: Transformations of Meaning Through Play in the Vampirina and Draculaura (Monster High) Franchises
Derek Newman-Stille 88
Do Vampires Get Their Periods?: The Carmilla Web Series and the Politics of Bleeding Women
Alexandra Heller-Nicholas 103
Part III-Transnational Transmedia
Vampire Tourism: Transmedia Narratives, Cultural Histories and Locating the Undead
Lorna Piatti-Farnell 120
Thinking in Connections: A.A. Carr's Eye Killers and F.W. Murnau's Nosferatu
Svetlana Seibel 134
From Revenants to Vampires: The Transmedia Evolution of the Jiangshi
Katarzyna Ancuta 146
Part IV-Interventions, Fandom, Ownership
Transmedia Interventions and Palimpsestuous Relations: Carmilla Meets Carmen Maria Machado
Natalie Wilson 162
The Originals and Family History Two-Fold: Caught Between Two Worlds
Verena Bernardi 174
Transmedia Vampire Stories and Their Consumers in Anne Rice's The Vampire Chronicles
Laura Davidel 187
First-Person Gothic: Anne Rice, Vampirism, Authorship and Identity
Evan Hayles Gledhill 201
About the Contributors 217
Index 221