University of Hertfordshire

By the same authors

Standard

'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'. / George, Samantha.

Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day . ed. / Sam George; Bill Hughes. Manchester : University of Manchester Press, 2013. p. 56-78.

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)

Harvard

George, S 2013, 'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'. in S George & B Hughes (eds), Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day . University of Manchester Press, Manchester, pp. 56-78, Bram Stoker Centenary Symposium, The Keats House Hampstead, 2012, Hampstead, United Kingdom, 13/04/12.

APA

George, S. (2013). 'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'. In S. George, & B. Hughes (Eds.), Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day (pp. 56-78). University of Manchester Press.

Vancouver

George S. 'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'. In George S, Hughes B, editors, Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day . Manchester: University of Manchester Press. 2013. p. 56-78

Author

George, Samantha. / 'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'. Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day . editor / Sam George ; Bill Hughes. Manchester : University of Manchester Press, 2013. pp. 56-78

Bibtex

@inbook{2203c6b1ee844030a4f3ea5f4bc7c32b,
title = "'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'",
abstract = "In this chapter I attempt to uncover the origins of the non-reflectionmotif and interrogate the vampire{\textquoteright}s complex relationship to this opticalphenomenon. I focus, to begin with, on Stoker{\textquoteright}s handwritten notes for Draculawhere the vampire{\textquoteright}s lack of a reflection or shadow is first located and wherethis conceit is extended to include its image in photography and painting.8From this, I develop the notion of {\textquoteleft}vampire painting{\textquoteright} in the writings ofPater and Wilde, and interrogate Dracula and Dorian Gray in relation to theidea of reproduction, and tensions around realism and mimesis, drawingon Benjamin{\textquoteright}s analysis of art in the age of mechanical reproduction and histheorisation of the outmoded. I conclude with a discussion of the contemporaryartist David Reed whose abstract painting is offered up as anotherversion of non-reflection. Reed has responded directly to Stoker{\textquoteright}s Draculanotebooks in his own {\textquoteleft}vampire painting{\textquoteright}, creating a compelling homage tothe unmirrorable figure of the vampire.",
keywords = "vampires, literature, film",
author = "Samantha George",
year = "2013",
month = dec,
day = "1",
language = "English",
isbn = "978-0-7190-8941-1",
pages = "56--78",
editor = "Sam George and Bill Hughes",
booktitle = "Open Graves, Open Minds",
publisher = "University of Manchester Press",
note = "Bram Stoker Centenary Symposium, The Keats House Hampstead, 2012 ; Conference date: 13-04-2012 Through 15-09-2013",

}

RIS

TY - CHAP

T1 - 'He make in the mirror no reflect': undead aesthetics and mechanical reproduction -'Dorian Gray', 'Dracula', and David Reed's 'vampire painting'

AU - George, Samantha

PY - 2013/12/1

Y1 - 2013/12/1

N2 - In this chapter I attempt to uncover the origins of the non-reflectionmotif and interrogate the vampire’s complex relationship to this opticalphenomenon. I focus, to begin with, on Stoker’s handwritten notes for Draculawhere the vampire’s lack of a reflection or shadow is first located and wherethis conceit is extended to include its image in photography and painting.8From this, I develop the notion of ‘vampire painting’ in the writings ofPater and Wilde, and interrogate Dracula and Dorian Gray in relation to theidea of reproduction, and tensions around realism and mimesis, drawingon Benjamin’s analysis of art in the age of mechanical reproduction and histheorisation of the outmoded. I conclude with a discussion of the contemporaryartist David Reed whose abstract painting is offered up as anotherversion of non-reflection. Reed has responded directly to Stoker’s Draculanotebooks in his own ‘vampire painting’, creating a compelling homage tothe unmirrorable figure of the vampire.

AB - In this chapter I attempt to uncover the origins of the non-reflectionmotif and interrogate the vampire’s complex relationship to this opticalphenomenon. I focus, to begin with, on Stoker’s handwritten notes for Draculawhere the vampire’s lack of a reflection or shadow is first located and wherethis conceit is extended to include its image in photography and painting.8From this, I develop the notion of ‘vampire painting’ in the writings ofPater and Wilde, and interrogate Dracula and Dorian Gray in relation to theidea of reproduction, and tensions around realism and mimesis, drawingon Benjamin’s analysis of art in the age of mechanical reproduction and histheorisation of the outmoded. I conclude with a discussion of the contemporaryartist David Reed whose abstract painting is offered up as anotherversion of non-reflection. Reed has responded directly to Stoker’s Draculanotebooks in his own ‘vampire painting’, creating a compelling homage tothe unmirrorable figure of the vampire.

KW - vampires, literature, film

M3 - Chapter (peer-reviewed)

SN - 978-0-7190-8941-1

SP - 56

EP - 78

BT - Open Graves, Open Minds

A2 - George, Sam

A2 - Hughes, Bill

PB - University of Manchester Press

CY - Manchester

T2 - Bram Stoker Centenary Symposium, The Keats House Hampstead, 2012

Y2 - 13 April 2012 through 15 September 2013

ER -