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Dr Geoffrey Kantaris , 1998 University of Cambridge I approach the theme of vampires and the living dead in cinema with some trepidation, not only because it's the right time of year for them to be popping out of their coffins and peeping invisibly into our mirrors, but also because I know that this is a theme with a long history in cultures in which I have little expertise.
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But I want to situate my paper somewhere between the gendered dolls of yesteryear and the hybridized cyborgs of today, with a few vampires thrown in the middle.
My title, then, refers to the spatio-temporal breach where dolls, vampires, and cyborgs can co-exist across the violently foreclosed historical narratives that might otherwise separate them.
I am particularly fascinated by what happens when the late-modern themes of dolls, mannequins, vampires, and the undead, in the nightmare of the metropolis, encounter the postmodern theme of the cyborg or "cybernetic organism".
Of course the staging, quite literally, of such an encounter is already prefigured in that quintessentially modernist cinematic text, Metropolisof 1926.
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Cyborgs are no mere fantasy science-fiction images, although science fiction is often itself the best guide to popular anxieties about globalization, difference, and high technology.