Abstract
Following Paul Buhle's claims about the inherent utopianism of horror, this essay examines the popular film Daybreakers (2009) as a cultural response to the economic and biopolitical crises of the Great Recession. Ultimately retreating from the dark mirror of its compelling dystopian critique, the film executes its social crisis through the logic of vampiric speciology, immunizing the present against the threat of radical transformation and restoring a “natural” social order. However, the biopolitical writings of Roberto Esposito offer us a way to discern the ineradicable utopian horizon in even this strategy of containment and neutralization.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
