Abraham "Bram" Stoker (November 8, 1847 – April 20, 1912) was an Irish novelist and short story writer, best known today for his 1897 Gothic novel Dracula. During his lifetime, he was better known as personal assistant of actor Henry Irving and business manager of the Lyceum Theatre in London, which Irving owned.

Guillermo del Toro - Chuck Hogan: The Strain trilogy

The strainThe Strain
A plane lands at JFK and mysteriously ‘goes dark’, stopping in the middle of the runway for no apparent reason, all lights off, all doors sealed. The pilots cannot be raised. When the hatch above the wing finally clicks open, it soon becomes clear that everyone on board is dead – although there is no sign of any trauma or struggle. Ephraim Goodweather and his team from the Center for Disease Control must work quickly to establish the cause of this strange occurrence before panic spreads. The first thing they discover is that four of the victims are actually still alive. But that’s the only good news. And when all two hundred corpses disappear from various morgues around the city on the same night, things very rapidly get worse. Soon Eph and a small band of helpers will find themselves battling to protect not only their own loved ones, but the whole city, against an ancient threat to humanity.

The Fall

The Fall
Ephraim Goodweather, director of the New York office of the Centers for Disease control, is one of the few humans who understands what is really happening. Vampires have arrived in New York City, and their condition is contagious. If they cannot be contained, the entire world is at risk of infection. As Eph becomes consumed with the battle against the total corruption of humanity, his ex-wife, Kelly, now a vampire herself, is ever-more determined to claim their son, Zack. As the Biblical origins of the Ancient ones are gradually revealed, Eph learns that there is a greater, more terrible plan in store for the human race – worse even than annihilation…

The Night Eternal 
The Night EternalAfter the blasts, it was all over. Nuclear Winter has settled upon the earth. Except for one hour of sunlight a day, the whole world is plunged into darkness. It is a near-perfect environment for vampires. They have won. It is their time. Almost every single man, woman and child has been enslaved in vast camps across the globe. Like animals, they are farmed, harvested for the sick pleasure of the Master Race. Almost, but not all. Somewhere out there, hiding for their lives, is a desperate network of free humans, continue the seemingly hopeless resistance. Everyday people, with no other options – among them Dr Ephraim Goodweather, his son Zack, the veteran exterminator Vassily, and former gangbanger Gus. To be free, they need a miracle, they need divine intervention. But Salvation can be a twisted game – one in which they may be played like pawns in a battle of Good and Evil. And at what cost…?

The Moth Diaries (director: Mary Harron)

The Moth Diaries

Lily Cole
Sarah Gadon
Sarah Bolger
Anne Day-Jones

A vulnerable student is filled with a sense of foreboding about Ernessa, a mysterious new arrival at a girls' boarding schooll. Helped to recovery by her best friend Lucy after the suicide of her father, sixteen-year-old Rebecca soon begins to feel ostracised when Lucy falls under the spell of darkly moody newcomer Ernessa. Rebecca believes that Ernessa may in fact be a vampire and is trying to steal her friend's life force. When staff and pupils at the school suddenly begin to suffer a series of deadly freak accidents, Rebecca decides to uncover the truth about Ernessa once and for all.

M. Carmen Gomez-Galisteo: Vampire meets girl: gender roles and the vampire’s side of the story in twilight, midnight sun and the vampire diaries

NeoAmericanist;2011, Vol. 5 Issue 2, January 2011

by M. Carmen Gomez-Galisteo, Universidad de Alcalá (Spain)

The Monday after New Moon, the film based on the second book of the Twilight saga by Stephenie
Meyer, opened worldwide, I asked my junior year students in my seventeenth- and eighteenth-century
American literature seminar if they had watched it. That in the middle of a discussion about Jonathan
Edwards’ fear-filling sermons about the dangers and the extreme pain awaiting sinners in Hell. Though
the looks on my students’ faces said — “This is it, she has lost it after reading so many sermons by wackos,”
my question was to the point. The Puritans lived in a world where they believed that supernatural
happenings could take place anytime, where the Devil was always lurking to stalk them by sending witches
or sea monsters, and where miracles might happen (though they were rather called instances of God’s
providence, reflecting the Puritans’ rejection of the Catholic terminology). That there exist men who can
transform themselves into wolves or evil creatures feeding on others’ blood would not have been a matter
of too much wonder for them. Even reputed Puritan divine Cotton Mather, author of over 400 books,
had devoted a section of his masterpiece Magnalia Christi Americana (The History of Christ’s Church in
America) to supernatural occurrences. The Puritans’ fascination with natural sciences and their interest
in the new scientific methods that were being developed at the time did not prevent them from believing
in the Occult or the supernatural, just the contrary. The Devil being a constant presence in their daily
lives, surely, the Puritans would have had no qualms in attributing vampires’ and werewolves’ special
characteristics to witchcraft or the devil’s doings — and put them to the bonfire right away. Because the
Puritans would have found it a perfectly logical explanation for the Cullens’ mysteriousness and their
sometimes bizarre behavior that they were vampires, the Twilight saga thus is heir to an early American
tradition of believing in the supernatural.
It is recurrent among twentieth-century rewritings of famous monster stories that the point of view
is no longer that of the more or less helpless victim or even that of the rather cold, and unsympathetic
(to the monster’s plight) omniscient third-person narrator; instead, we are privy the point of view of the
so-called monster, whose monstrosity comes to be questioned. In these retellings, the monster appears
to be much more human, having feelings and emotions that up to them had been impossible for him to
have due to his very characterization as a monster. For instance, Mary Reilly by Valerie Martin, through
the eyes of the homonymous protagonist, the servant of Dr. Jekyll and Mr. Hyde, offered a much more
humane vision of the physician and his nemesis than Robert Louis Stevenson had provided. Mary
Shelley’s Frankenstein, the most recent cinematographic adaptation of the popular nineteenth-century
novel, brings attention to the story’s authorship to claim a version closer to the original, far from other,
somewhat sugar-coated and at other times frankly risible representations of Victor Frankenstein’s
creature as a man with a greenish face and screws from his temples. This Frankenstein’s creature is
far from being happy with his lot and pledges revenge on his maker for his present anguish. In these
contemporary, post-modern retellings, the focus (and thence, the reader’s sympathy) is on the monster
that cannot prevent his condition, much to his own chagrin, no matter his efforts to put an end to his
situation. These are monsters, indeed, but they try their best not to be. They also suffer from pangs of
their consciences, telling them not to kill unnecessarily and, even when forced to kill, they are plagued by
remorse and guilt. These monsters are, in way, moved by biological determinism: they try to avoid being
what they are, but they miserably fail, because of their very natures — or their genetic makeup, if you wish.
A sequel told from the point of view of a character from the original novel is a rather popular
literary development. Well-known examples include Wide Sargasso Sea by Jean Rhys (off Jane Eyre
by Charlotte Brontë), The Wind Done Gone (off Gone With the Wind by Margaret Mitchell), March
by Geraldine Brooks (off Little Women by Louisa May Alcott), or Pemberley by Emma Tennant (off
Pride and Prejudice by Jane Austen), just to name a few. In 2008, Stephenie Meyer’s work in progress,
Midnight Sun, was posted all over the Internet, with all the efforts to put a stop to this violation of
copyright miserably failing. Eventually, given the multiplicity of pirate versions, Meyer decided to give up
writing Midnight Sun and instead posted the manuscript in draft form as it was in her own website (www.
stepheniemeyer.com). What was intended to be the fifth book of the Twilight saga represents Edward’s
side of the story. It is a very rare gift to have an insight into the male protagonist’s thoughts. See Pride
and Prejudice— we don’t know Darcy’s true thoughts till the end. This makes Midnight Sun so relevant to
the study and better comprehension of the Twilight saga. In Twilight we see Bella’s despair for receiving
the cold shoulder from her biology class lab partner during her first days in Forks. It is not until later in
the novel when we discover Edward’s reasons for such an attitude towards Bella. Midnight Sun analyzes
Edward’s thoughts at meeting his forbidden object of desire.

Rigor Mortis (director: Juno Mak)

Rigor Mortis

Chin Siu-ho
Anthony Chan
Kara Hui
Lo Hoi-pang
Paw Hee-ching

A famous actor ex-vampire hunter with an empty bank account and deeply despondent try to take his own life into a room of a dilapidated tower block...