Relevant bibliographies by topics / Vampire Diaries

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Vampire Diaries'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Vampire Diaries"

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Sanna, Antonio. "Family Concerns inThe Vampire Diaries." Gothic Studies 21, no. 2 (November 2019): 209–22. http://dx.doi.org/10.3366/gothic.2019.0023.

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This paper examines the TV series The Vampire Diaries to show how the programme responds to traditional gothic tropes and transforms them for the television medium. Vampires and humans shall be read as both preoccupied with the ties of family, in story arcs that explore complex and often dark familial relationships. Especially in the early seasons of the series, objects such as magic rings, compasses, precious stones and magical devices are given fundamental importance for the development of the plot, the interactions among the characters, and the representation of familial bonds. Specifically, the search for and retrieval of the heirlooms shall be interpreted as instrumental to the representation of the characters’ relationships with their respective families, which I argue is a characteristic theme of gothic fictions at large.
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Debnath, Kunal. "The Evolution of The Vampire From A Gruesome Gothic Creature To A Superstar Of Popular Culture With Reference To The Vampire Diaries Tv Series." SMART MOVES JOURNAL IJELLH 7, no. 9 (September 28, 2019): 11. http://dx.doi.org/10.24113/ijellh.v7i9.9792.

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A vampire is a mythological-folkloric creature that is said to feed on the blood of the living. It is a Gothic uncanny figure. So judging by the outlook, a vampire is not a figure with whom we should fall in love with. But judging by the current trends in popular culture, it is not true so. Though vampires were once portrayed as gruesome and horrible, with the passage of time, change in trends and paradigm shift in popular culture, they have been naturalized as normal. They have even attained celebrity status. The evolution of the vampire from a gruesome Gothic figure to a superstar of popular culture goes through a process of three stages- Accepting the Vampire as Normal and Natural ‘Celebritizing’ the Vampire and Making a Star out of Him Narrative Technique or Storytelling of Vampire Texts
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Quitschal, Patrícia Maia, and Luís Paulo de Carvalho Piassi. "Vampiras e a sexualidade livre das mulheres: uma análise a partir do seriado televisivo “The Vampire Diaries”." Momento - Diálogos em Educação 26, no. 2 (December 19, 2017): 225–47. http://dx.doi.org/10.14295/momento.v26i2.6841.

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Nosso objetivo é verificar a atribuição de um teor de negatividade para a liberação sexual feminina em produtos culturais, focando no seriado “The Vampire Diaries”, considerando a concepção de feminino predominante na cultura ocidental e os significados que a figura da vampira nela adquirem. Para isso, consideramos a cultura de violência contra a mulher, os preconceitos que a justificam e como isso aparece em produtos culturais como parâmetro para comparar a vampira Katherine Pierce e seu duplo, a humana Elena Gilbert, a partir da semiótica. Verificamos que a mensagem a velada é de que Katherine e sua sexualidade exuberante representam o mal, enquanto Elena e sua conduta recatada representam o bem, concluindo que a sexualidade feminina é apresentada de forma negativa, reflexo de valores arraigados na cultura ocidental. A conduta sexual é utilizada como definidor do caráter de personagens femininos em produtos culturais, sendo que a atividade sexual “excessiva” predominantemente acarreta punições.
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Azmi, Mohd Nazri Latiff, Cyril Ryan Moderin, and Harison @. Hanisa Mohd Sidek. "A Study of Humanity in Smiths the Vampire Diaries: The Awakening." International Journal of Asian Social Science 8, no. 3 (2018): 155–63. http://dx.doi.org/10.18488/journal.1.2018.83.155.163.

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McMahon-Coleman. "What Elena Did: Dis/ability in The Vampire Diaries." Journal of Asia-Pacific Pop Culture 1, no. 2 (2016): 165. http://dx.doi.org/10.5325/jasiapacipopcult.1.2.0161.

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Williams, Rebecca. "Unlocking The Vampire Diaries: Genre, Authorship, and Quality in Teen TV horror." Gothic Studies 15, no. 1 (May 2013): 88–99. http://dx.doi.org/10.7227/gs.15.1.9.

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Lush, Rebecca M. "Original sin: Frontier horror, gothic anxiety and colonial monsters in The Vampire Diaries." Horror Studies 8, no. 2 (October 1, 2017): 293–312. http://dx.doi.org/10.1386/host.8.2.293_1.

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Bridgeman, Mary. "Brigman Award Winner-Forged in Love and Death: Problematic Subjects in The Vampire Diaries." Journal of Popular Culture 46, no. 1 (February 2013): 3–19. http://dx.doi.org/10.1111/jpcu.12013.

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Blom, Minja. "Television vampire fandom and religion." Scripta Instituti Donneriani Aboensis 25 (January 1, 2013). http://dx.doi.org/10.30674/scripta.67430.

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Popular culture and fandom provide a setting where people can reflect on the questions of life. A television show defines for many of its fans what it means to be human. It also discusses the way things are, and the way they should, or could, be in our reality. In this article the author shows that tele­vision shows Buffy the Vampire Slayer, True Blood and the Vampire Diaries have made the same kind of impact on their fans. The fan writings of Buffy the Vampire Slayer, True Blood and the Vampire Diaries show that these popular texts, and the communities they have formed, have greatly affected the lives of fans. People have found on their TV screens stories they can get strength and hope from. The vampire shows deal with the supernatural – vampires, werewolves, and witches – and place them in our contemporary world as if they are a natural part of it. Television vampire stories revolve around topics of death, good and evil, and humanity. These stories have created massive fan communities and even life changing fan experiences. The reflections upon existential questions, and the way the shows have empowered fans, make this phenomenon important to study in the context of today’s religions reality.
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Lindgren Leavenworth, Maria. "Transmedial texts and serialized narratives." Transformative Works and Cultures 8 (June 25, 2011). http://dx.doi.org/10.3983/twc.2011.0361.

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Dissertations / Theses on the topic "Vampire Diaries"

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Larsson, Benjamin. "The Vampire Diaries : en semiotisk analys." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-9623.

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Syfte: Jag har velat svara på frågeställningarna hur maskulinitet och femininitet framställs i "The Vampire Diaries" Tidigare forskning: I min teori har jag utgått från Linda Fagerström och Maria Nilson som har forskat om hur medier påverkar våra perspektiv angående genus, Marguerite Morits som har studerat filmer och serier i televisionen i Amerika på 1970-talet utifrån ett genusperspektiv och Emile Durkheim som har studerat maskulinitet och femininitet i samhället utifrån ett historiskt perspektiv Metod och material: Jag har utfört en semiotisk analys av de tre första avsnitten i den första säsongen av "The vampire diaries". Det är en serie som sänds i televisionen på kanalen TV6 i Sverige och på kanalen CW i Amerika. Semiotik kan kortfattat beskrivas som teckenlära. I analysen har jag utgått från ett genusperspektiv. Huvudresultat: Jag har funnit en framställning av femininitet och två framställningar av maskulinitet i "The Vampire Diaries". De båda maskulina framställningarna liknar varandra samtidigt som det finns skillnader mellan dem. Detsamma går att finna mellan dem och den feminina framställningen.
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Nygren, Anna. "Vampyrers död och Andra(s) kroppar : En studie av True Blood, Vampire Diaries och Buffy the Vampire Slayer." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65056.

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I den här uppsatsen undersöks hur vampyrer dör i TV-serierna True Blood (2008-2014), Vampire Diaries (2009-2017) och Buffy the Vampire Slayer (1997-2003). Genom närläsning och jämförelser mellan dessa olika sätt att skildra vampyrers död diskuteras vad detta innebär för den roll vampyren får i respektive serie, och vad det betyder för skildringen av kropp och kroppslighet. Jag använder mig av teorier kring skildringen av (mänsklig) död på film, samt för en diskussion i relation till bland annat Judith Butlers begrepp ”sörjbara kroppar” och Giorgio Agambens ”bare life”. Utifrån detta ställs frågor om hur vampyrer, deras död och skildringen av denna relaterar till de diskurser om mänsklighet som genomsyrar serierna och deras kontext.
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Murray, Caitlin. "Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of 'Gossip Girl,' 'Pretty Little Liars,' and 'The Vampire Diaries'." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3064.

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This thesis explores the ways in which the television adaptations of Gossip Girl, Pretty Little Liars, and The Vampire Diaries become more homogenized during the adaptation process, thus contributing to an implied exclusivity from which Alloy, Inc.—the media and marketing company that owns these products—might benefit. This paper points out the ways in which the three products become structurally similar to one another during the adaptation process through the implementation of soap opera conventions. An exploration of consumption and class in each of the three works reveals an emphasis on class-based exclusivity in the adaptation process. Finally, a focus on portrayals of race within the source texts and their respective adaptations reveals the ways in which African American characters are presented as invisible, outsiders, or antagonists, thus creating products that become more exclusive on a race basis.
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Bernard, Lucie. "Les filles qui aimaient les vampires : la construction de l'identité féminine dans Twilight de Stephenie Meyer et deux autres séries romanesques de bit lit, Vampires Diaries et House of Night." Thesis, Brest, 2016. http://www.theses.fr/2016BRES0013.

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La bit lit, un genre littéraire très contemporain qui associe le récit amoureux et le récit vampirique et s'adresse principalement à un public adolescent féminin, a acquis une visibilité mondiale avec la parution de Twilight de Stephenie Meyer en 2005. Ce mouvement littéraire reprend l'un des thèmes les plus récurrents et centraux des histoires d'amour comme des histoires de vampires occidentales : la construction du féminin, la position attribuée à ce dernier, et ses interactions avec un univers majoritairement hostile et dangereux. Or, malgré des représentations très conservatrices, voire rétrogrades, le genre connaît un succès très important en particulier auprès des jeunes femmes. Il est donc indispensable de s'interroger sur cette apparente contradiction, qui amène des auteures exclusivement de sexe féminin et un lectorat très majoritairement féminin à écrire et lire des récits sentimentaux peu féministes. Pour ce faire, la présente étude se penche sur trois oeuvres de bit lit : Twilight de Stephenie Meyer, The Vampire Diaries de L. J. Smith et House of Night de P. C. et Kristin Cast. Elle s'appuie sur trois approches, les études culturelles et l'étude de la réception, la narratologie, puis les études de genre. Les influences littéraires qui nourrissent les romans, le mode de lecture qu'ils encouragent et les choix narratifs qu'ils déploient sont analysés afin de comprendre ce qu'ils mettent en scène : la rencontre entre le sujet féminin et une conception patriarcale du monde
Supernatural romance (or 'bit lit' in French) is a contemporary literary genre which associates sen-timental and vampiric stories and is primarily aimed at a female teenage audience. It acquired global visibility in 2005 with the publication of Stephenie Meyer's Twilight. This literary movement takes up one of the most recurring and central themes of Western love stories and vampire stories alike: the construction of the feminine, of its positioning and its interactions with an essentially hos-tile and dangerous environment. Despite very conservative and even reactionary representations, the genre has met a huge success among young women. It is thus necessary to question this ap-parent contradiction: why do exclusively female writers and mostly female readers write and read sentimental stories that can be qualified at best as 'hardly feminist'? To do so, the current study focuses on three supernatural romance series: Twilight by Stephenie Meyer, The Vampire Diaries by L. J. Smith and House of Night by P. C. and Kristin Cast. It relies on three approaches: cultural and reception studies, narratology and gender studies. The literary influences that inform the nov-els, the reading mode they incite and the narrative choices they unfold are analyzed in order to understand how they stage the encounter between the feminine subject and a patriarchal worldview
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Books on the topic "Vampire Diaries"

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Smith, L. J. The Vampire Diaries: The Fury and Dark Reunion. New York: HarperTeen, 2007.

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Smith, L. J. The Vampire Diaries: The Awakening and The Struggle. New York: HarperTeen, 2007.

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Smith, L. J. Conflicto: Crońicas Vampíricas. Me xico, D.F: Destino/Editorial Planeta Mexicana, 2009.

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4

Doran, Colleen. The Vampire Diaries Volume 1. New York: DC Comics, 2014.

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Smith, L. J. The Vampire Diaries: The Fury, Volume III. USA: Eos, 1999.

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Moss, Marissa. Blood diaries: Tales of a 6th-grade vampire. Berkeley, Calif: Creston Books, 2014.

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Covenant with the vampire: The diaries of the family Dracul. New York, N.Y: Delacorte Press, 1994.

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Kalogridis, Jeanne. Covenant with the vampire: The diaries of the family Dracul. NewYork: Dell, 1995.

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Children of the vampire: The diaries of the family Dracul. New York: Delacorte Press, 1995.

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Birchall, Adam. A visitor's guide to Mystic Falls: Your favorite authors on The vampire diaries. Dallas, TX: Smart Pop, 2010.

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Book chapters on the topic "Vampire Diaries"

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Houston, Lynn Marie. "Biting Critiques: Paranormal Romance and Moral Judgment in True Blood, Twilight, and The Vampire Diaries." In A Critique of Judgment in Film and Television, 269–88. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137014184_14.

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Hemphill, Jim. "Julie Plec (The Vampire Diaries, Riverdale, Roswell)." In The Art and Craft of TV Directing, 55–66. Routledge, 2019. http://dx.doi.org/10.4324/9780429055867-8.

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Pisters, Patricia. "Growing Pains: Breasts, Blood and Fangs." In New Blood in Contemporary Cinema, 54–87. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466950.003.0002.

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This chapter features a new take on vampires, werewolves and other contrived souls, especially in relation to tortured coming-of-age stories that address social pressure and childhood traumas. After a short encounter with Woolf in the company of a vampire, this chapter commences with a return to Stephanie Rothman’s psychedelic exploitation film The Velvet Vampire (1971) and Katherine Bigelow’s vampire western Near Dark (1987). The vampire as connected to the confusing experiences of coming of age is picked up Moth Diaries (Mary Harron 2011) and in a less explicit but no less horrific way in Sarah Plays a Werewolf (Katharina Wyss 2017). The promise of the myth of eternal life and beauty, and the legacy of Elisabeth Bathory is revised in The Countess (July Delpie 2009) and acquires a particular twist in contemporary Japan in Helter Skelter (Mika Ninagawa 2012). Claire Denis’s Trouble Every Day (2001) takes the genre to its ontological extremes. This chapter will also turn to Butler’s re-imagination of the vampire in her novel Fledgling (2005) and the imagination of alternative relations between the human and nonhuman and looks at the new ethics of the vampire in A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014).
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Canet, Fernando. "The Problematic Relationship with Sympathetic Vampires in the TV series The Vampire Diaries." In Gender and Contemporary Horror in Television, 117–29. Emerald Publishing Limited, 2019. http://dx.doi.org/10.1108/978-1-78769-103-220191011.

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Subramanian, Janani, and Jorie Lagerwey. "Teen Terrors." In Reading in the Dark. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806444.003.0008.

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Shifting the focus from zombie epidemics in books to vampire invasions on the small screen, Subramanian and Lagerwey contemplate the “raced and gendered contradictions of postfeminist girl culture” by concentrating on the character development of two of the show’s main characters, Bonnie Bennett and Caroline Forbes. In doing so, Subramanian and Lagerwey consider how The Vampire Diaries employs monstrosity to consider and represent what coming of age means for girls of different racial identities, especially in melodramatic television series targeted toward teen audiences that have been produced in the postfeminist era. Through this, Subramanian and Lagerwey offer new insight into postfeminist horror designed for young viewers, especially the young females who find themselves fans of such shows and films.
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Ames, Melissa. "A Country (Still) Divided." In Small Screen, Big Feels, 121–39. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.003.0007.

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Supernatural shows by their nature often incorporate themes such as survival, community, revenge, resurrection, and (the dark side of) humanity -- themes which take on a new meaning in the post-9/11 period. Chapter Six analyzes how these are incorporated into 21st century vampire narratives, such as HBO's True Blood (2008-2014), CW's The Vampire Diaries (2009-2017), and the film adaptations of Stephenie Meyer's Twilight Saga (2008, 2009, 2010, 2011, 2012). Through a recurrent focus on "us versus them," these storylines bring attention to the cultural divides within the United States caused by things such as continued racial conflict, progress in the LGBTQA rights movement, and ongoing (religious and political) debates concerning family values. This essay also analyzes the ways in which the Civil War backstories present within each of these narratives reflect problematic nostalgia for bygone eras (and societal orders).
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