“The vampire as host, however, poses only one kind of threat to the mortals populating fantasy tales. Of even greater terror is the moment when the creature of darkness steps over the threshold of a human settlement. Vampires have long reflected human fears of invasion-a national, religious, racial, ethnic and/or sexual Other infiltrating the familiar and the domestic of dominant values. Whether the monster is read as representing an immigrant (see e.g. Hudson 2007), a Jew (as in many Gothic works with anti-Semetic tropes; see e.g. Reed 2013), the queer (as in Fincher 2007; Haggerty 2006; Hughes and Smith 2009) or a female who refuses to conform to rigid gender norms (see e.g. Brode and Denyeka 2013; Stasiewicz-Bienkowska 2013), the vampire Other is often depicted to pose both as an allure and a "threat from outside which will change us from within" (Mutch 2013, 15). Consequently , vampire narratives operate as an "ideal plateau for the villainous capabilities of the invites guest...[who] claim ownership of the homes they are invited to, reducing their hosts to victims" (Watkiss 2012, 523-524).”