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In addition, as my analysis of Elisa, vida mia attempts to prove, vampire-images involve icons of women as objectified or subordinated to men.

They depart from Gilles Deleuze's time-images of modern cinema (1989), which imply irrational cuts caused by particular relinkages of sound and visual data.

Drawing on Teresa de Luretis (1984) and my own trans-faggot experience, vampire-images are designed to give an account of the processes of simulation that work to erase traces of exploitation. Departing from one of the peripheral meanings of the vampire – a male sexual predator, the vampire has been designed as a perverse figuration of structural violence in cybernetic capitalism which could help us understand the relationship between massive addictive habits of digital machines and western patriarchal agendas, as Wendy Huy Kyong Chun studies (2016). On the other hand, they intend to draw meaningful insights on Hispanic film studies in relation to what Donna Haraway calls “informatics of domination” (1991c). One one hand, these concepts aim to approach the films under study through decolonial and trans-feminist perspectives. Building off Gilles Deleuze's semiotics (1986, 1989) and Teresa de Lauretis' film theory (1984, 1987) – both drawing on Charles Sanders Peirce (1930-35/1958), I have designed three inter-connected concepts in relation to the vampire figuration: 'vampire-images', 'camera-vampires', and the 'phoenix'.

In Vampires in Transition, I develop semiotic analyses of two key films of the Spanish transition: Elisa, vida mia (Carlos Saura, 1977) and Arrebato (Ivan Zulueta, 1980).