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
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