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Introduction Through centuries, the cultural shape shifter, the vampire has plagued the imaginations of men and woman alike, which has inspired tales of folklore, poetry, film and literature. In this dissertation the role of the female vampire will be analysed to see how it has shifted along side an ever-changing society. Through this analysis the dissertation will explore the social meanings within the representation of the female vampire that have been suggested by Mary Hallab, reflect the society of any given time, for example, the female role in the home, the fear of woman, the mental, physical or behavioural deviations from communal norms (Hallab, 2009:33). The main points of this exploration of knowledge will start with the cultural history that makes up the representation of the female vampire. It will then move onto a psychological, theoretical analysis to study how the female vampire became such an icon. Lastly, the exploration will take the form of three case studies of female vampires throughout history to analyses and compare the changes through herstory. (Chadwick, 2003) Within myths and legends there are sometimes hidden truths lurking within, which has influenced and shaped the female vampires to the myths that still lurk in the shadows and minds of society. Through this dissertation and its exploration of the shape shifter I desire to analyse and study the female vampire. This is because I am interested to find out the truths as well as the meanings behind the role the vampire that still plays within society

today and the betrayal of the female vampire which has morphed with society. In this dissertation the objective is to uncover the truth behind the female vampire and her role within both the genre and the reflections within society. This dissertation will draw on the work and concepts of multiple theorists such as Freud and Lacan to study and consider the application of the views of and between the supposedly active male and passive female relation in both society and film (Freud 1931:344). The theoretic views and ideals will be aligned with the views of the feminist theorists to further comprehend the nature of the female vampire. The role, which arguably has been molded around the ideal of what the woman should play in films as opposed to her idealization in life. These views and ideals will be both complimented and explored with the use of selected literature, such as The Penguin Encyclopedia Of Horror And The Supernatural by J. Sullivan [1986] in order to explore some of the historic culture of the vampire. Also multi-media films such as Draculas Daughter [1936] which apply and argue both theoretical and feministic workings for and against the female vampire, arguably in the shadow of the male fantasy. This will be in order to fully get an understanding of how society helped shape the vampire myth of todays generation. In chapter one, the main author[s] will consist of M. Y. Hallab with Vampire God: The Allure Of The Undead In Western Culture[

Hallab,2009] to seek out the hidden meanings and messages of the vampire within society and religion. Chapter two will analyse theorys from Freuds Three Essays On The Theory Of Sexuality [S.Freud,1905]. His work will also be used to apply and relate the theory of psychology to the characters and society. Also shall be the views of M, Warner in Monuments And Maidens: The Allegory Of The Female Form [Warner,1985] which examines the tradition of the symbolic female form. Her work shall be implemented within the female vampiric world and its hidden truths. Finally, chapter three will examine T, Mois Sexual Texture politics [Moi,1985] in order to examine and evaluate if and how the female role shifts and evolves away from the norm role within myth Chapter one will study the cultural history of the female vampire and the main influences, which gave birth to the iconic image of the vampire. It will continue to examine the relation between the roles of the female vampire and that of the society in which it was created in order to seek out the meaning behind the role within the myth of the vampire. Chapter two will consist of a psychological theoretical analysis of the female vampire in order to uncover why she is a cultural icon and what she represents. This will continue by gender studies through queer theory. This exploration will analyse the movements within the social shape shifter to understand how the female role began to evolve inline with the view of woman through society.

Chapter three will examine three case studies which include Daughter of Dracula [1936] , Lesbian Vampire Killers [2009] and X tracking changes in the representation of the female vampire. This will be to analysis if or how the views of society has allowed and developed the female vampire. This will also look to explore if the female vampire through society has succumbed to the male sexual fantasy. To fully reach an understanding of the role of the female vampire and the meanings and messages she carries, this dissertation will explore the cultural history of the vampire in order to analysis her roles within Daughter of Dracula [1936] , Lesbian Vampire Killers [2009] and X. It shall begin by looking towards the foundation of the vampire myth and the traditions of old that paved the way for them.

Chapter 1: The Cultural History Of The Vampire For countless centuries death and all that follows there after has remained in the minds of mankind. Through this obsession with death, traditions began to emerge across all corners of the globe. These traditions differ from culture to culture but have a strong bond with the rights of the dead. These traditions were mainly in order to allow the departed entry and safe passage into the next domain to continue their journey. However, this somewhat holy ideal has a darker side to which predates history itself, the fear of the undead. This fear of the dead, coming back to the world of the living, has made way for many myths and folk-tales of beings such as the fabled vampire coming back to life to prey on the land of the living. This global phenomenon of these folk-tales and myths of these unholy creatures has lead the vampiric beings to be known and feared arcos differing countries and beliefs. The vampiric being has embodied many different forms throughout its horrific bloody history and has been known and feared throughout the world for centuries. Although these folk-tales and myths are spread throughout history it is quite arguable that there are links connecting the myths to one another. These links have been studied and suggested by James Sullivan, in his guide to the supernatural in the book The Penguin Encyclopaedia Of The Horror And The Supernatural (1986), vampires give an astonishingly universal frission, whether they are taken literally as demonic forces of darkness or metaphorically for the spread of disease, the threat of sexuality and other forms of intimacy, the

fear of the dead, the longing for immortality or the seductiveness of evil (Sullivan 1986:435). This analysis by Sullivan arguably connects these beings by the fear of man, but also translates the differing forms the vampire has taken through out their bloody history leading to the numerous myths and fabled tales surrounding them. ! Arguably the vampire has been used for centuries to embody these fears of man, leading to the many myths and legends to which they brew. However, these vampiric beings hold there name thanks to their use within the movement of Romanticism to which would give birth to the term vampire. The Romantic Movement is considered to be a reaction against the logic, understand and science of the empirical of the Enlightenment. The Romantic Movement was a longing for nature and a yearning for the past. It would normally take the form of art, poetry and literature. Brigstocke states, The work of these artists should also be seen in the context of the Napoleonic Wars which plunged Europe into crisis until 1815. It was also seen to explore the dark mood of people in the depths of despair. (Brigstocke, (ed.) 2001, 654) One could argue that Brigstocke is suggesting that the art and literature within the Romantic Movement is the expression of emotions of the society within the darkness of the cultural events. It is arguable that the vampire within romanticism would be used to both explore and express these dark emotions of despair to allow the culture to express itself. An example of this is the Vampir (1893-4) by Edward Munch.

Figure 1: Vampir By Edward Munch (1893-4) What this image shows notably is a red headed female vampire and a male in a dark embrace. Within this dark embrace the bodies of both the female and male become lost and one within the darkness that sweeps around engulfing the two in despair. One Could suggest that this engulfing darkness which merges the two is a representation of the connection between man, his fears and its incarnation within the vampire. One can argue that the vampire within Romanticism would become a shell to which would embody the cultural emotions to be expressed within. This dark theme has allowed the female vampire to shift to modern culture and allow it to be used and related to society but also keep its influences from the myths of the past. Her red coloured hair is an ancient trait and sign of her true vampiric nature. this insinuation of red heads being vampires can be seen within and taken from Roman myths of the vampire in the form of Strix and Strigoi.

Arguably among the most popular of the Roman vampires are Strix and Strigoi who have very strong ties to faith and religion. Strigoi"! #$%&!'()*!common vampire traditions of today, was able to change their prey into a vampire by biting them. However, this becoming of the vampire has its ties to religion also, and not simply seduction. One could become a vampire by, being redheaded, leading a life of sin, committing suicide or dying before baptism. Another tradition can arguably have taken root from Strix. She is often pictured as a nocturnal bird which brings bad luck to men. Similar to the Jewish vampire Lilith, Strix would turn into a beautiful woman and seduce men and drain him of all his fluids. She also shares similarities to Limia, with her taste for newborns. Much like popular vampiric traditions of today Strix, arguably, shows elements of these traditions of being able to be killed by decapitation and other such rituals (A. McLeod 2010). Just like the use of red haired vampire within Munchs Vampir (1893-4), many of the modern tradtions of the vampire comes, just like the vampire herself, from the past. Although it is unknown when the vampire first stepped out of the shadows of darkness, and man had its first encounter with these unholy undead beings, it is known that the myths and tales surrounding them have links to the ancient world. Beresford states in his book, The Creation Of The Modern Vampire Myth (2008), that there is evidence which links vampiric beings in prehistory in all corners of the world, ancient Greece, Rome, Egypt and Eastern Europe being the most significant (Beresford, 2008:19). From

these differing cultures the vampire begins to take shape in the form of woman. The tales of the vampiric woman slowly became more common throughout the ancient world and spread from culture to culture. Lilith, first wife of Adam according the Hebrew folklore, was an extreme beauty (Jenkins 1960 ;228). However, upon refusal to accept a subordinate role to Adam, she was cast out of Eden and exiled to the desert plane to which she came. She would live on as a demon and would soon become a night flying monster and seduce men and bed them in order to birth demonic children. She would, as most vampires, drain their fluids after she was finished. Like Embusae, Lilith was seen by many authors, such as Jenkins, as a sexual predator (Jenkins 1960 :228). Within the Jewish culture the myths and legends of Lilith, the flying demon was feared until the Middle Ages. She is a prime example of morphing from one society to another. Within this shift from one culture to the other, the meaning change and begin to fit within the new culture. It is believed she was imported to Greece and became the vampire Lamia Lamia, daughter of Belus was also among ranks of the Greek vampires. However unlike such Greek vampire such as Embusae, Lamia is not depicted as a beauty but quite the reverse. She was depicted as ugly as her appetite, with a face of a Gorgon mask with blazing eye and snakelike tongue protruding from bared fangs (Sullivan 1986:436). One could suggest through the myth that Lamia carried the warning of birthing a child out of wedlock, which in many religions and faiths was frowned upon. It could also

be argued Lamia was a metaphor for the spread of a deadly diseases. Limia was not the only Greek temptress and just like her Roman sisters it can be argued that Embusae would also have influence on there tradition of the vampire. She came in many forms through out the many folk-tales and myths, not all of which being human. This is, according to Brodman and Doan, due to the vampire myth being, a variation on zoomorphism, the belief in the capacity of human metamorphosis into animal form (Brodman & E. Doan 2013:62) Like many of the Greek myths of man or woman being in the form of part human and part animal due to a curse from the gods or other such beings; the vampire is no exception. This half human half animal was part of many cultures and legends. One can suggest this zoomorphism was the possible origins of the commonly used vampiric power of a full transformation into animals such as, bats and wolves that vampires transform into in todays stories and myths. This use of a full transformation can be seen and argued within the myth of the Empusae, who would seduce and drain the fluids out of any unwary travellers. Empusae were female vampire transforming themselves from salacious woman into animals, bitches or cows; although the myth differs slightly from todays stories (Sullivan 1986). However, this was not all there is to these blood-sucking creatures. These salacious women could, unlike many mythical vampires, attack during midday rather than the restrictions of the night, a feet unmatched by most common vampiric beings. They are also among the many

Greek legends to have been touched by the gods. According the Greek mythology they were the children of the goddess Hecate. Just like todays version of the vampire and as Sullivan suggests vampires universally have meaning and therefore, one can argue the ancient vampires were no different. If one analyses the choice of food, the human form within the myth one can argue that the traveller represents an invader from another land coming into their land or more commonly depicted as the fear of immigration from one society to another. This fear of the vampire representing the fear of immigration can be suggested to be a commonly used metaphor, being depicted through the vampire even into todays vampiric make-up. Within vampires mythical history from the ancient world of Rome, Greek and Pakistan she would leave her bloody trail and enter the history books in the form of a Romanian Countess Elisabeth Bathory. Elisabeth Bathory is one of a Select few of tyrants described as the real life embodiment of the vampire. Unlike Embusae, Lilith or Strigoi, Lady Bathory is an ever to real character with an ever to real reputation for cruelty. This has made her a much-loved historical character that has inspire a hole generation of film makers and writers [M,Cole,2008] with her many tales and myths. Although the true facts about her life have been lost to the ages, the stories and myths engulfing her name stay true and strong today. More recently shown on Martina Coles Ladykillers [2008] and suggested to be one of the top six prolific mass murderers in

history [M,Cole,2008]. Lady Bathory, dubbed lady Dracula is arguably the prime candidate to be the mother of the modern female vampire. In this dark world surrounding the truth behind Lady Bathory, fact and fiction become burled. By all accounts it is said that before and after her husbands death in 1604, she was a good mother marrying off all her children as well as keeping her estates wealthy. This is one of the few things ideas historians mostly agree on. It is well known that torture was very much part of life in society of the time but if the myths are to be believed, lady Bathory went beyond the accepted norms.

Figure 2: Winter Torture. The image above shows the extremities of Bathorys cruelty as she watches her female servants slowly freeze to death. These acts of cruelty gave her a fearsome reputation and though her appetite for torture was miserable, torcher alone would not grant her the title of the vampire countess. She would only gain that title when she believed that blood would keep her youth and if myths are to be

believed she would bathe in the blood of her servant girls. this bloodthirsty tyrant has also been suggested to sexually torcher her victims also making many people believe she was gay or some degree of bisexual. Her down fall would come after the King laid an investigation and would end up destroying all record of lady Bathory and exile her into a single room of one of her castle to which she would never be able to leave until her death in 1614. The terrifying bloody stories, myths and legends surrounding Lady Bathory give her a fearsome reputation. If history is to be believed, her appetite for torture and blood, which lead to her condemnation, makes the vampire countess a myth all on her own which still linger lingers today. It is still unknown of the true story of Lady Bathory but, one can suggest that it is due to this unknowing that has left her stamp on the vampiric society. From mythical legends to the historic life of the Vampire Countess, the actions of man has made the female vampire into the form of a bloodthirsty demonic creature of seduction that has embodied their fears and beliefs within their culture. But the vampire is not restricted to the beliefs of man in myths and legends but also the reaction and expression of a culture. Rousseau observes that Man is born free, but everywhere he is in chains (Rousseau, 1762, p. 49-50 quoted by Brigstocke, (ed.) 2001:653). This statement by Rousseau can be applied to the vampire and its ever changing form. One can argue that through history, the female vampire was born out of fear but has always been chained to the culture of its time either through myth, real life characters or art. She is at the mercy of society and although freely roaming in the

darkness, she is always shifting with the ever shifting society, embodying the raw emotions and fears of that culture. Chapter 2: This cultural construct of woman, transgression, femme fetale, monstrous feminine and lesbianism is evident from the various cultures in which women were placed, whether that be from the distant past or the present. Smart in Woman, Crime And Criminology: A Feminist Critique (1977) suggests this construct has lead the way for the foundational norm for the traditional theological beliefs of what a woman is within society (Smart, 1977:30). The suggestion made by Smart of the traditional theological beliefs, arguably, have been one of the founding elements of women, which has influenced the physiological framework around the accepted norms of the woman within society. One can argue that in order to find how the cultural construct of woman has influenced the female vampire one, must first understand how double deviancy effects the woman within the society. This cultural construct of the woman that has been placed on females can also be related and placed within the female vampiric genre as a reflecting mirror image of the fabricated construct of woman. This cultural construct can, arguably, be broken down into many segments and themes, which can also be placed into the fabrication of society and its traditional beliefs. One such segment of the cultural construct is the idea of the 'double deviance', the idea that when females kill or are 'evil' they are guilty of a double-deviance - first is the act of evil itself, the second

is that women are, culturally, not expected to be capable of such behavior as they are the good women. An example of Double blind or double deviance can be found within the fabrication of our society in the form of the justice system, as it is suggested that woman are firstly punished for their crimes and then again for their deviance from female gender expectations and norms. (Heidensohn, 1989:102) This idea of double deviance used within the conviction of woman can, like the myths of old, be suggested as another fabrication and creation of the male belief and fear of the woman. This idea of double deviance or the idea of violation of the female gender norm created from traditional theological beliefs can also be argued to stem from a more basic biological and primal understanding of the woman; the role of mother and child. If one looks stereotypically at the gender role, the woman is the mother, the one who gaves birth to life and thus, in the norm view of the biological fundaments, is the giver not the taker of life. A fundamental boundary which is an expected norm, but when it is broken it has arguably, violated societys expected gender norms (Grabe, 2006:156). Grabe states that within the justice system woman, committing crimes against children, they received harsher journalistic treatment than!woman who committed crimes but did not violate these gender stereotypes (Grabe, 2006:156) Grabe is stating that a woman who commits a crime against the child is considered more evil, going against her biological function that one does not violate her gendered role.

This idea of going against the gendered expected norms can arguably also be found within almost any the female vampiric being, whether it be from the myths of old, literature or multimedia. The vampiric being through history is considered dark, evil and unholy. This however, does not make the vampire double deviant. It is only when it is placed within the female gender does the vampire become double deviant. If one looks back at any of the past historic female vampire figures such as Lillith or Lady Bathory, one can see through their history that their actions and ultimately being woman and mothers, come under this construction of male fear. One can argue that this implementation of the evil woman and her double deviance within the vampiric genre has given the female vampire her twisted popularity within the fear of society. One can suggest that this popularity of female vampires of old and new within society stems from male fantasy of a deviant woman that openly goes against her role within the norm construction of society. This theme of the female vampire going against the cultural expected norm role of the good woman falls into anther theme of the cultural construct of woman; transgression.

Within our culture, the construct of woman is measured according to certain norms and limitations within our society. These norms and limitations contribute to the conformity expected of woman to become a good woman and a good mother (Hughes,2002:72). These limitations and norms contribute to what is also seen as

exceeding a limit or boundary, especially of social acceptability. When a woman is seen as exceeding these limitations and boundarys she is often betrayed as unfeminine and arguably, seen in a more masculine form. These women who go against the limitations and boundaries the cultural construct has set for them, they are known and seen as transgressive. The theme of transgression is often used within the make-up of the female vampire arguably making her a symbol of a woman going against the norm constraints of society. But to understand how the female vampiric being falls under the theme transgression one must understand the boundaries of the fabrication of what being a good woman entails.

Christina Hughes in her book, Womans Contemporary Lives (2002), argues what she believes to be the foundation of the construct of the good woman is. She states, the good woman, like the good mother, is caring. She shows concern and interest. She takes responsibility for the care of her family. She puts others before her self (Hughes,2002:72). What Hughes is suggesting is that the good woman is a woman who, overall, is caring and selfless, arguably a woman that submits and conforms the needs of everyone but herself. Hughes continues, thus, if a woman fails to care, if she fails to put others before herself, if she fails to take responsibility for others needs, if she fails to show compassion she is not a woman at all (Hughes,2002:72). This quite bold statement of a woman that fails to conform and submit to the construct of the good woman is, by default, not a woman at all. These views on woman who do not submit are arguably the boundary or limitation

that has constructed the theme of transgression; a woman to whom does not follow the role of the good woman.

Transgressive women are often betrayed as evil and/or monstrous who are often a threat to man and society. This is arguably due to these non women acting independently from the male dominated society. Moi states, The monster woman is the woman who refuses to be selfless, acts on her own initiative, who has a story to tell in short, a woman who rejects the submissive role patriarchy has for her (Moi, 1985:58). Mois statement of monster woman going against the role of the good woman is the foundation of the trangessive female vampire who acts on her own desire.

This view of going against the norm role and becoming transgessive also applies to the much-debated topic of ones own sexuality. A sexuality that defies the norm concepts of marriage such as being gay is, within film and literature, normally betrayed as being evil and threatening. The female vampire is no exception. She, a woman who follows her own desire is quite often betrayed as having lesbian traits. Arguably a male fantasy, the theme of the lesbian vampire arguably runs deep within the foundation of the over sexualized female vampire. This over sexualized female is arguably both a fear and fantasy that has lead the way for another theme of trangression; femme fetale.

Due to the transgressive nature of the female vampire, she is often betrayed as going against the norm by being quite sexualized in

nature. This use of over sexualized woman can be suggested to betray woman as having the power over man. Although it is not restricted to purely having the charm over the male figure, it can also affect the female characters. This arguably leads many characters to their doom by falling for the female vampires charm whether they be male or female. This is also known as the fatal woman or better known as the femme fetale. Annette Kuhn in her book, The Womans Companion To International Film (1990) describes the femme fetale as being, wicked, scheming, creative, sexually potent and deadly to the male, the femme fetale is one of the few powerful female figures in classical Hollywood (kuhn,1990:153). What Kuhn is describing is a transgressive female archetype that has been used in many Hollywood films. It is here, for the point of this descution, the femme fetale will be looked at in general term within Hollywood to understand the principles making up the archetypes role.

Within much the womans role within the femme fetale in Hollywood, she is often casted as a powerful, but ever so beautiful, independent woman. As Kuhn continues, typically, the femme fetale combines glamor and sensuality with driving ambition or self interest (Kuhn,1990:154). In other words the femme fetale is both beautiful and quite shellfish. However, being beautiful and selfish dose not make the woman a femme fetale and should not be confused with transgression and vise versa. A woman whom is selfish and has her own ambition falls under the theme of transgression, going against her norm role within the construct of society. It is only when she uses her charm and sexual desire as a

weapon does she fall into the category of the femme fetale. Kuhn states, the femme fetale is primarily defined by her desirable, but dangerous, sexuality-which brings about the downfall of the male protagonist!she lures men into a web of intrigue and robs them of their willpower and rationality (kuhn,1990:154). Using sex as a weapon to lure men into their web which, ultimately leading to their eventual death, the devices, transgressive femme fetale archetype is born.

Within one of Hollywoods most powerful female archetypes, the femme fetale, she is often betrayed as being gay, bisexual or at least having hints of such sexualities. Such sexualities, arguably, in them selves are very much depicted as being evil and goes against the natural order. One can suggest that, it is dues to this that they are transgressive tricksters who trick both male and females into sex and, in the vampires case, drain them of there life. This deviancy and trickery from the norm has arguably created a common theme of the return of the male order and her eventual destruction. The story often constructs the sexually powerful woman as a thread to the male/moral order, so justifying her loss of power as necessary to the reestablishment of that order (Kuhn,1990:154). One can suggest that is also why woman who are femme fetale are often betrayed as devices, transgressive monstrous women.

The monstrous woman or other wise known as the monstrous

feminine, according to Barbara Creed in the monstrous-feminine: film, feminism, psychoanalysis wears many faces (Creed, 1993:9). Creed is suggesting that the monstrous feminine is not simply restricted to any one monster whether it is in film, literature or myth. Creed continues to explain, the term monstrous feminine as the term female monster implies a simple reversal of male monster. The reasons why the monstrous feminine horrifies her audience (Creed,1993:10). What Creed has suggested is of what the monstrous feminine implies, which, one can argue embodies the themes of transgression, double deviance and the femme fetale. Within this construct and use of these themes that, one can suggest, bleed into one another to form the foundation of the unacceptable woman within the construct of society.

It is suggested that all human societies have a conception of the monstrous-feminine, of what it is about woman that is shocking, terrifying, horrific, abject (Creed,1993:9). Through is suggestion one can argue the conception of the monster woman is the construction of the monstrous feminine within the construct of the norm of societies views against woman who do not submit to the submissive role of the good woman. One can also suggest through her role within film, that her popularity comes from her monstrous, over sexualized transgressive traits. Creed expands this idea, as with all other stereotypes of the feminine, from virgin to whore, she is defined in terms of her sexuality. The phrase monstrous feminine emphasizes the importance of the gender in the construction of her monstrosity (Creed,1993:10). Once more the notion of the sexually active female is once more defined as

evil or in this case, monstrous. One can argue the monstrous feminine is simply a term to which embodies the idea of the transgessive women that, once more, is connected and linked, to the norms of sexual interest and desire within the constructed norms.

The female vampire, being a monster woman or monstrous feminine, can arguably also be seen embodying these traits which brake lose from the norm. Through the female vampires popularity and the use of these concepts of transgression, one can argue that this, culturally unacceptable woman, is a male fantasy that is to be concurred. One can also suggest the implication of vagina dentate within this idea of male fantasy as the woman must be tamed or the teeth somehow removed or softened- usually by a hero figurebefore intercourse can safely take place (Creed,1993:9). This concept used within vagina dentate can also be suggested to relate to the female vampire, a hot blooded woman whos sexual interest, arguably, rivals that of the males. Through vagina dentate and the many layers of transgression within the female vampire, one can suggest the construct of male desire for a woman that is arguably unattainable. However, this desire, this male fantasy of the unattainable woman within the construct of society and its views on transgressive, device woman, is arguably a being whom is the prime example of a male desire but also within the cultural construct, despised.

The popularity and, arguably, importance of the female vampire within our society can arguably be suggested to come from this male fantasy of the transgressive, device, ultimately fatal and unattainable woman whom defies the norm concept of the construct of the good woman. Through this, one can also suggest that it is her transgressive nature that makes her an iconic figure within society.

Bibliography A. McLeod, Judyth, Vampires: A Bite-Sized History(2010) Murdock Books UK Limited Beresford, Matthew, (2008) , From Demons to Dracula : The Creation of the Modern Vampire Myth, Reaktion Books Brodman, Barbara & E. Doan, James The Universal VampireOrigins and Evolution of a Legend, Fairleigh Dickinson University Press Creed, Barbara (1993) The Monstrous-Feminine: Film, Feminism, Psychoanalysis, Routledge USA: Canada Chadwick, W., (2003). Women, Art and Society, London: Thames and Hudson Ltd Freud, S. (1931) in Young-Bruehl, Elisabeth, Freud on Women, 2002, London: Vintage Hallab, Mary Y, (2009) Vampire God : The Allure of the Undead in Western Culture, State University of New York Press Heidensohn, F., (1989) Crime And Society, Hampshire And London: Macmillan Hughes, Christina (2002) Womens Cotemporary Lives: Within And Beyond The Mirror, Routledge London: New York

Grabe, M. E., K. D Trager, M Lear &J. Rauch (2006) Gender In Crime News: A Case Study Test Of The Chivalry Hypothesis, Mass Communication And Society Jenkins, Mark (1960) Vampire Forensics: Uncovering the Origins of an Enduring Legend, National Geographic Society Kuhn, Annette (1990) The Womens Companion To International Film, University Of California Press Moi, Toril (2002) Sexual/Textual Politics, Methuen & Co Ltd Smart, C., (1977 ) Woman, Crime And Criminology:A Feminist Critique, London: Routledge Sullivan, Jack (1986) The Penguin Encyclopedia Of Horror And The Supernatural, Viking Penguin Inc Warner Marina (1987), Monuments And Maidens: The Allegory Of The Female Form, Pan Books Ltd

Multi-Media Martina Coles, Lady killers [2008] ITV 3 Daughter of Dracula [1936], Director, Lambert Hillyer, Producer, E.M Asher, Harry Zehner Lesbian Vampire Killers [2009], Director, Phil Claydon, Producer, Steve Clarrk-Hall

List Of Illustrations Figure 1, Edward Munch (1893-4) Vampir [Painting] At: http://upload.wikimedia.org/wikipedia/en/6/6c/Munch_vampire.jpg (Accessed 27-oct-13) Figure 2, Winter Torture [Illustration] At:! http://www.angelfire.com/ks/tepelus/images/bathoryk.gif (Accessed 27-oct-13)
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