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date: 17 August 2019

Abstract and Keywords

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. With the advent of the Twilight Saga, the teen vampire subgenre has sunk its teeth into the blockbuster film franchise. Its migration into big-budget corporate cinema prompts a negotiation between the Hollywood film industry and the D-quadrant audience of young women and girls. The industry, for its part, has agreed to adopt a protective rather than predatory stance, offering young female viewers a PG-13 fantasy rather than exposing them to representations of sexual violence that “go too far,” are too threatening or age-inappropriate. At the same time, the industry not only acknowledges the existence of female desire, but represents its darker, uncanny dimensions. Newly composed musical scores play a major role in facilitating the experience of the uncanny for viewers without overshooting their tastes and sensibilities. The pop music in the films serves to initiate the audience into the adult music market.

Keywords: industry, franchise, blockbuster, audience, horror, coming-of-age, genre, composers, music, soundtrack, score, uncanny, negative emotions

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