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Aboriginal Australian Vampires and the Politics of Transmediality
2019
single work
criticism
— Appears in: The Global Vampire : Essays on the Undead in Popular Culture Around the World 2019; (p. 165-176) Sucking vampiric winds, cannibalistic red-skinned monsters, and demonic autophagic silhouettes and shadows exist in contemporary Aboriginal Australian horror and Gothic texts. Figures based on myth, they have names like Namorrados, Yara-ma-tha-who, Gherawhar, or Quinkan, and they bear some striking similarities to Western vampires. The fluidity of the vampiric image in Aboriginal Australia is heightened by its transformation across media and complicated by racial and cultural controversies. This essay is a transmedial analysis of the Australian Aboriginal vampire that traces its adaptations from orality to ink, and from celluloid to digitization. Both Indigenous and White Australian visions of the vampiric shape-shifter have permeated Australian narratives and media. In the 1990s, Alan McKee stated that in Australia "there is no readily accessible 'backfella' tradition of zombies and vampires:' as conventional Western figures in film (1997a, 123); this is still the case. Productions like The Zombie Brigade (1986) show vampiric contamination of an Indigenous community, and by proxy the continued intrusion or incorporation of classic vampires with Aboriginal myths. On page, the Aboriginal vampire is recreated by self-identifying Indigenous Australians in modern texts such as Mudrooroo's Vampire trilogy (1990-1998), D. Bruno Starrs' That Blackfella Bloodsucka Dance! (2011), or Raymond Gates's "The Little Red Man" (2013). It also appears in Australian vampire fiction like Jason Nahrung's Vampires in the Sunburnt Country series (2012-2016). By surveying the figure as it has filtered across media, I analyze its transformations in relation to transmedialitv and theories of adaptation espoused by scholars like Jens Eder and Linda Hutcheon. Significant variations in the Aboriginal vampire are visible in relation to the scientific apparatus of horror, the Antipodean footprint of Bram Stoker, and shadow and light in the Sunburnt Country. Each permutation reflects transitions in cultural context and from literary to multimedia traditions. Thus, after explicating a critical approach, this essay delineates the transformation of the Aboriginal Australian vampire in various White and Indigenous productions, taking into account the politics of transmediality. Underlying such an analysis is the issue of cultural identity . and appropriation, which feeds into the metamorphic quality of Aboriginal Australian vampires in textual and digital forms.' (Introduction)
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White shadows: The Gothic Tradition in Australian Aboriginal Literature
2013
single work
criticism
— Appears in: A Companion to Australian Aboriginal Literature 2013; (p. 139-154)In this chapter, the author argues '...to appreciate the many shapes of the Gothic in Aboriginal literature takes, it is necessary to consider the discursive peculiarities of the Gothic and to rewind to the eighteenth century before fast-forwarding to contemporary Aboriginal literature.' (Introduction)
-
Aboriginal Australian Vampires and the Politics of Transmediality
2019
single work
criticism
— Appears in: The Global Vampire : Essays on the Undead in Popular Culture Around the World 2019; (p. 165-176) Sucking vampiric winds, cannibalistic red-skinned monsters, and demonic autophagic silhouettes and shadows exist in contemporary Aboriginal Australian horror and Gothic texts. Figures based on myth, they have names like Namorrados, Yara-ma-tha-who, Gherawhar, or Quinkan, and they bear some striking similarities to Western vampires. The fluidity of the vampiric image in Aboriginal Australia is heightened by its transformation across media and complicated by racial and cultural controversies. This essay is a transmedial analysis of the Australian Aboriginal vampire that traces its adaptations from orality to ink, and from celluloid to digitization. Both Indigenous and White Australian visions of the vampiric shape-shifter have permeated Australian narratives and media. In the 1990s, Alan McKee stated that in Australia "there is no readily accessible 'backfella' tradition of zombies and vampires:' as conventional Western figures in film (1997a, 123); this is still the case. Productions like The Zombie Brigade (1986) show vampiric contamination of an Indigenous community, and by proxy the continued intrusion or incorporation of classic vampires with Aboriginal myths. On page, the Aboriginal vampire is recreated by self-identifying Indigenous Australians in modern texts such as Mudrooroo's Vampire trilogy (1990-1998), D. Bruno Starrs' That Blackfella Bloodsucka Dance! (2011), or Raymond Gates's "The Little Red Man" (2013). It also appears in Australian vampire fiction like Jason Nahrung's Vampires in the Sunburnt Country series (2012-2016). By surveying the figure as it has filtered across media, I analyze its transformations in relation to transmedialitv and theories of adaptation espoused by scholars like Jens Eder and Linda Hutcheon. Significant variations in the Aboriginal vampire are visible in relation to the scientific apparatus of horror, the Antipodean footprint of Bram Stoker, and shadow and light in the Sunburnt Country. Each permutation reflects transitions in cultural context and from literary to multimedia traditions. Thus, after explicating a critical approach, this essay delineates the transformation of the Aboriginal Australian vampire in various White and Indigenous productions, taking into account the politics of transmediality. Underlying such an analysis is the issue of cultural identity . and appropriation, which feeds into the metamorphic quality of Aboriginal Australian vampires in textual and digital forms.' (Introduction)
-
White shadows: The Gothic Tradition in Australian Aboriginal Literature
2013
single work
criticism
— Appears in: A Companion to Australian Aboriginal Literature 2013; (p. 139-154)In this chapter, the author argues '...to appreciate the many shapes of the Gothic in Aboriginal literature takes, it is necessary to consider the discursive peculiarities of the Gothic and to rewind to the eighteenth century before fast-forwarding to contemporary Aboriginal literature.' (Introduction)
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