A   U   T   H   O   R
Christy Freadreacea

As a graduating senior with majors in Sociology and English, I received the Coleman Award for Outstanding Senior in Sociology and graduated Summa Cum Laude. I love film and am considering pursuing a higher degree in film theory so that I can teach at the college level. I absolutely loved compiling the data for this project. I'm no stranger to watching movies with a pen in hand and I devoured the reading material. Dr. Bordo was fantastically supportive and enthusiastic, as she always is with her students.
    As previously mentioned, I'm a film buff! I've been involved with the University of Kentucky Academic Team, and was in UK's first production of The Vagina Monologues this past spring. I spent time volunteering for the UK Women's Place, which is UK's new initiative to prevent violence against women on campus. I'm also a big fan of the girl scouts, and make sure I have time every summer to spend a week at camp teaching young girls the Girl Scout ways.

Mentor:
Susan Bordo
Otis A. Singletary Chair in the Humanities
Professor of English and Women's Studies
What I like most about Christy's work in "Revamping the Roles of Women in Vampire Film" is the combination of solid, scholarly research peppered with lively, colloquial language and a sardonic wit that lets the reader know the tropes of popular stereotyping are as silly as they are serious. In this paper, Christy deals with age-old constructions of women and the woe that comes to those who depart from their proper roles — a theme that could and has been dealt with by others in a grim, puritanical manner — yet she never loses her sense of humor about it all. Having chosen a subject matter that invites a light touch, she never wades into academic pretentiousness. Her writing is crisp, clear, direct, and playful. She critiques, yet is not condescending about the enduring appeal of the themes and images she deals with. And she recognizes and relishes the subversive undercurrents in the cautionary messages. Women have loved vampire movies, after all, and Christy never loses her amused appreciation for that fact, even as she draws critical blood from the genre.

(KALEIDOSCOPE FALL 2 0 0 5)
Revamping the Roles of Women in Vampire Film Or
Women Who Suck the Life Out of You 


I began my study of women in vampire films with a taste for blood and dove straight into texts soaked with the blood-sweat of academics pounding out works of feminist film theory, essays on the construction of horror movies, and Freudian analysis after Freudian analysis of the horror genre. Eventually I had a fairly good idea of the kind of vampire films about which people are writing. I was ready to head out to my local big name video rental store and sink my teeth into some celluloid.
        What I found when I got there was only a dismal selection of the films I sought. Vampires have a deep and far-reaching lore woven into texts of literature and film since at least Sheridan Le Fanu's novella Carmilla in 1871. There are several films based on this text about a female vampire who lures young girls to fulfill her unnatural desires, but Bram Stoker's Dracula (1897) is what grabbed hold of the public's jugular. Stoker picked and chose what he wanted from extensive vampire lore and wrote an enduring epistolary piece that has spawned dozens and dozens of film versions with countless spin-offs involving the character Dracula and other vampires. Apparently Blockbuster knows little of this.
        Scouring the city, I came up with a decent selection of vampire movies, many actually based loosely on Stoker's novel. From this selection, I drew my sample of films that people have actually seen, though they may not have been extensively written about. From the hodgepodge, I selected movies that span nearly a century.
        Though the films all have the "vampire" they differ somewhat in the details of the supporting lore. All of the vampires had to sustain themselves on blood; however, some drew it with fangs,
 
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