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Framing EmpirePostcolonial Adaptations of Victorian Literature in Hollywood$
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Jerod Ra'Del Hollyfield

Print publication date: 2018

Print ISBN-13: 9781474429948

Published to Edinburgh Scholarship Online: May 2019

DOI: 10.3366/edinburgh/9781474429948.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 28 May 2020

‘He Is Not Here by Accident’: Transit, Sin and the Model Settler in Patrick Lussier’s Dracula 2000

‘He Is Not Here by Accident’: Transit, Sin and the Model Settler in Patrick Lussier’s Dracula 2000

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(p.39) Chapter 2 ‘He Is Not Here by Accident’: Transit, Sin and the Model Settler in Patrick Lussier’s Dracula 2000
Source:
Framing Empire
Author(s):

Jerod Ra'Del Hollyfield

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474429948.003.0003

This chapter examines Dracula 2000 as both a resistant text of settler colonial identity and an example of Hollywood’s influence on the Canadian film industry. Seen by Miramax cofounder Bob Weinstein as a potential franchise successor to the recently completed Scream trilogy, the film reunited much of that earlier franchise’s creative team with horror legend Wes Craven assuming the role of producer and passing directorial reigns to longtime Dimension editor and Canadian filmmaker Patrick Lussier. Focusing on a Dracula who is revealed to be an undead Judas Iscariot and a Van Helsing sustained through the 20th Century by injections of Dracula’s blood, the film engages with a poststructuralist cycle of the settler/subject/colonial dynamic. Likewise, the film’s relocation from the imperial centre of London to New Orleans not only positions America as a contemporary imperial power but also harkens back to the port city’s legacy as a hub for slavery and global trade during Stoker’s time. Shot primarily on Canadian sound stages that doubled for London and New Orleans, Dracula 2000 also embodies contemporary production politics in which Hollywood’s relationship to settler nations such as Canada provides economic support for national cinemas while still dominating domestic box office.

Keywords:   Dracula, Wes Craven, Patrick Lussier, horror, New Orleans, Judas Iscariot, Southern Studies, Canada, Canadian film, settler colonial studies

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