Abstract Next to blood, fast food and junk food make up the most common meals in ‘80s vampire fiction. Whether munching on chips, devouring a Big Mac, or slurping down soda, humans use these foods to satisfy hunger, assuage anxiety, provide a needed jolt of caffeine, and pass the time between sunset and sunrise. The vampires in these works tend to function in one of three ways. They can serve as metaphors for the food industry, preying on young and old with products designed to foster overconsumption and addiction. They can symbolize the country’s addiction to processed foods and the excesses of consumerism more broadly. And finally, they can even emerge as ironic images for healthy eating as they seek a natural, more organic diet than their junk-food addicted victims. In each case, these creatures indict an industry that profited from turning consumers into junkies, craving foods that promised heart disease, high cholesterol, and obesity. Films such as Joel Schumacher’s The Lost Boys (1987) and Whitley Strieber’s novel The Hunger (1981) offer two examples of the way this genre explored the nation’s appetite for junk food and challenged audiences to find a way to save themselves from this addiction before it was too late.

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一颗锋利的甜食：吸血鬼、垃圾食品、迷路男孩的危险胃口和饥饿

摘要 在 80 年代的吸血鬼小说中，除了血液之外，快餐和垃圾食品是最常见的食物。无论是咀嚼薯条、吃巨无霸，还是啜饮苏打水，人类都使用这些食物来满足饥饿感、缓解焦虑、提供所需的咖啡因，并在日落和日出之间打发时间。这些作品中的吸血鬼往往以三种方式之一起作用。它们可以作为食品行业的隐喻，用旨在促进过度消费和成瘾的产品来掠夺年轻人和老年人。它们可以象征该国对加工食品的成瘾和更广泛的消费主义。最后，他们甚至可以成为健康饮食的讽刺形象，因为他们寻求比垃圾食品成瘾的受害者更自然、更有机的饮食。在每种情况下，这些生物谴责了一个行业，该行业通过将消费者变成瘾君子，渴望食用会导致心脏病、高胆固醇和肥胖症的食物而获利。乔尔·舒马赫 (Joel Schumacher) 的《迷失的男孩》 (1987) 和惠特利·斯特里伯 (Whitley Strieber) 的小说《饥饿》 (1981) 等电影提供了两个例子，说明这种类型的电影探索了国家对垃圾食品的胃口，并挑战观众在上瘾之前找到一种方法来摆脱这种成瘾太晚了。