Bisexual Erasure in ‘Lesbian Vampire' Film Theory

Bibliographic Data

ID12759341
AuthorsNicole Richter (0000-0002-1278-176X, Wright State University, corresponding author)
Year2013
Volume13
Issue2
Pages273-280
Publication date2013-04-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueJournal of Bisexuality (JOURNAL)
Journal identifiersISSN: 1529-9716 • E-ISSN: 1529-9724
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.1080/15299716.2013.780198
OpenAlexW2049801632
LanguageEN
Citations received6
References cited17

Lesbian vampire theory operates within the matrix of feminism, queer theory, and horror studies. Bisexuality has a strained relationship with queer theory, and Christopher James provides a compelling account of how bisexuality has been appropriated by queer, lesbian, and gay theory. The strategy James terms “appropriation without representation” occurs when theorists do not include bisexuality as a sexual orientation in their analysis, yet they label characters that behave in bisexual ways as gay or lesbian. Bisexual characters have been written out of scholarship about ‘lesbian vampire' films through this appropriation. A bisexual epistemological perspective accounts for a broader understanding of the sexuality expressed in films that are traditionally included in the ‘lesbian vampire' subgenre, such as The Hunger (1983), Blood and Roses (1960), and Daughters of Darkness (1971). This article charts how bisexuality functions invisibly within these so-called lesbian vampire films and how scholarship surrounding the films contributes to bisexual erasure

Appropriation · Art · Epistemology · Human sexuality · Lesbian · Literature · Political science · Psychoanalysis · Queer · Queer theory · Scholarship · Sexual orientation · Sociology · Vampire · Cinema and Media Studies · Gender Studies · Gothic Literature and Media Analysis · Philosophy · Psychology · Sexuality, Behavior, and Technology

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