Popular Culture Review 29.1 (Spring 2018) - Page 100

sido víctima de tiroteos masivos, apuñalamientos masivos, bombas suicidas, tráfico de bebés, tráfico sexual y asesinatos relacionados con el contrabando de drogas y diamantes. Este ensayo representa entonces una contribución única al cuerpo existente de investigación que está dedicado al estudio de la mezcla entre el horror gótico y el drama de crimen europeo contemporáneo. Palabras clave: drama europeo de crimen, horror gótico, ansiedades culturales In his recent The Twilight of the Gothic?, Robert Crawford   argues that the traditional vampire-based gothic narrative has all but vanished, adding that in the contemporary world conditions for the thriving of the vampire-Gothic narrative no longer exist. Citing True Blood, The Vampire Diaries, Buffy the Vampire Slayer, and The Twilight Series as examples, he observes that the trend in current vampire movies and TV series has been to humanize and therefore de-demonize vampires without completely removing their thirst for blood.   Crawford finds support for his position from Fred Botting, who comments that “[v]ampires have become commodities…[,] offer[ing] mirrors of contemporary identity and sympathetic identification” (Gothic 287).   In agreement with Botting and Crawford, Peter Hutchins makes the point in his book The Horror Film that traditional vampires are being replaced by sociopathic killers whose atrocities match those committed by the monsters of old (48-54). Several recent European TV crime dramas bear out Hutchins’ assertion.   In these series, the use of elements traditionally associated with the vampire-based narrative—plus the incorporation of a variety of horror tropes—leave the viewer with the impression that the contemporary European landscape in which these dramas are played out has become a nightmare 100