Hammer Glamour Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Hammer Glamour Pdf, Epub, Ebook HAMMER GLAMOUR PDF, EPUB, EBOOK Marcus Hearn | 160 pages | 29 Sep 2009 | Titan Books Ltd | 9781848562295 | English | London, United Kingdom Hammer Glamour PDF Book Actress The Horror of Frankenstein. She died on September 17, in England. Top: Yutte Stensgaard, star of several vampire movies, with a skull, some tassels? Refresh and try again. Pauline Peart was born on October 31, After one of the women in the team is raped and impregnated by a monstrous alien creature, she becomes psychotic and starts killing her colleagues one by one and eating their flesh! The scene where she emerged from the sea in a skimpy bikini cemented her place as one of THE sex symbols of the 60s. Jul 03, Aussiescribbler Aussiescribbler rated it it was amazing Shelves: movie-books. Also in , Beacham starred in this Italian action thriller — which also had several different titles:. The plot concerns a group of archaeologists and scientists who are excavating the ruins of an ancient civilisation on a distant planet. Actress The Viking Queen. Getting Dressed - Magician who made East meet West. Actress Tess. She has been married to Leslie Bricusse since October 18, This does exactly what the title promises. Filled with beautiful pictures, and interesting information, this is a must for the Hammer fan. You are commenting using your Google account. Aug 25, Mhorg rated it really liked it. Valerie Leon Actress The Spy Who Loved Me Not just another tall, beautiful brunette, Valerie Leon had extensive experience in British theatre, television and films - and not just as a sexpot - before she became a fixture in the "Carry On" series, appearing in seven of them. Because of the trauma, her mother lavished on Diana anything and everything she wanted-- clothes, toys and dance lessons were the order of the day. She is still working on TV here, and her old films are always worth watching. Born in Budapest, Hungary, her true name is Katherina Freiin Schell von Bauschlott, the scion of a once wealthy German patrician family. Lists with This Book. Just in time for Halloween, Titan Books has released Hammer Glamour , a luscious coffee table book that collects pinup images of beauties featured in iconic Hammer Studios movies of the s and 70s. To see what your friends thought of this book, please sign up. Want to Read Currently Reading Read. Want to Read saving…. Pass it on! Make a Scene. Get our newsletter Subscribe. Still this is a beautiful book and a worthy addition to any Hammer collection. Manga Crash Course Fantasy. The women of Hammer- even if you don't know them by name, you know their beautiful faces. There are some great anecdotes in there, and some absolutely tragic stories. Everyone has their own favourites, but I think many men of a certain age have enduring memories of Ingrid Pitt in The Vampire Lovers. Linda Hayden Actress The Boys from Brazil Gorgeous and voluptuous blonde actress Linda Hayden made a strong and lasting impression with her steamy portrayals of lusty nymphets and tempting seductresses in a handful of pictures made in the 60s and 70s. Tell us what you think about this feature. Aug 17, Leila Anani rated it really liked it Shelves: film-tie-in , film-tv-criticism , hammer-films , lesbian-vampires , non-fiction , vampire-films , horror-films. Hollywood Life. A fun return to my early childhood crushes from the s and , that starred or were featured in my favorite horror movies of that era; Notably Rachael Welch, Ursula Andress and Ingrid Pitt. Gorgeous and voluptuous blonde actress Linda Hayden made a strong and lasting impression with her steamy portrayals of lusty nymphets and tempting seductresses in a handful of pictures made in the 60s and 70s. Original Title. Number of pages Actress The Avengers. Leave a Reply Cancel reply Enter your comment here Leggy, brunette-maned pin-up actress Caroline Munro was born in in Windsor, Berkshire, England, and lived in Rottingdean near Brighton where she attended a Roman Catholic convent school. Actress The Deadly Bees. This is a classic example of where Hammer went wrong in the 70s — a movie with no atmosphere, a very poor script, and a complete lack of understanding of the so-called youth audience. She was nominated for the Academy Award for Best Supporting Actress for her performance in Tom Jones and appeared in The Third Secret the following year but she allowed her film career to decline following her marriage to actor Sean Connery , the second of her three husbands, to whom Whatever you call it, this supercharged Italian action thriller gave Stephanie a chance to let it all hang out! Hammer Glamour Writer Aug 08, Jyri Luoma rated it really liked it. From Wikipedia, the free encyclopedia. Account Log in Registration. Drew Struzan: Oeuvre. Unfortunately, the sexually frustrated priest she confesses to becomes obsessed with her. The A. Because of the trauma, her mother lavished on Diana anything and everything she wanted--clothes, toys and dance lessons were the order of the day. No , just to be on the safe side Hammer filled out the rest of the cast with a host of great character players and their usual horror stock company of Christopher Lee, Peter Cushing and Andre Morell. These ladies helped redefine the horror genre. Please try again later. Still this is a beautiful book and a worthy addition to any Hammer collection. While vampires were a Hammer staple, the studio also produced science fiction classics like Quatermass and One Million Years B. Her rare forays to the big screen resulted in two of the more intense heroines inhabiting the world of Hammer horror in the 60's. Mary Mourning rated it it was amazing Feb 03, She also starred in the cunningly-titled Slave Girls as well as the superlative Dr. She was previously married to Scott Griffith and Johnny Wodehouse. Rare Books. Consider changing the search query. Is there any approach you possibly can take away me from that service? As a youngster she was trained for ballet and in her late teens worked as a model for Elle fashion magazine. Lisa Fitzpatrick and Sharon Gosling. My acting career was in its infancy when I went to meet formidable casting director Aida Young. She's the identical twin sister of Mary Collinson. Media Tie In. Enlarge cover. Actress Blake's 7. Hammer Glamour Reviews Help Learn to edit Community portal Recent changes Upload file. Peter Aperlo. The Book of Lists. Actress The Hour of Each entry of the actresses was brief, but insightful, with fun backstage stories and trivia. Learn how your comment data is processed. Notify me of new posts via email. There are no discussion topics on this book yet. DFW Child. Clear your history. Best known as Hammer Films' most seductive female vampire of the early s, the Polish-born Pitt possessed dark, alluring features and a sexy figure that made her just right for Gothic horror! You can simply jump into it. Email required Address never made public. With her beautiful looks and stature, she worked as a model during her salad days. Comics: Between the Panels. They brought back Dracula as a hot, magnetic emohunk played by Christopher Lee, and gave his brides some pinup sex appeal. George Lucas. Susan Denberg Actress Frankenstein Created Woman After becoming immersed in the 60s high life of drugs and sex, Denberg left show business and returned to Austria. Author Marcus Hearn. She was previously married to John McEnery. Actress Carry on Girls. The Green Hand and Other Stories. Fill in your details below or click an icon to log in:. What was the inspiration for writing Hammer Glamour? Gorgeous and voluptuous blonde actress Linda Hayden made a strong and lasting impression with her steamy portrayals of lusty nymphets and tempting seductresses in a handful of pictures made in the 60s and 70s. Views Read Edit View history. Actress Mute. Sign in. Sign in. She died on June 21, in the UK. I have realised that the older I get, the more important nostalgia has become and this fabulous book has a revered place on my bookshelf. Because of the trauma, her mother lavished on Diana anything and everything she wanted--clothes, toys and dance lessons were the order of the day. Year published Refresh and try again. Jason Williams rated it it was amazing Jan 05, She died on September 17, in England. Actress A Study in Terror. Marcus Hearn has done a marvellous job of paying tribute to the glamourous women of Hammer by selecting 50 of them and giving some information about their lives and how they felt about their experiences as Hammer stars or Hammer window dressing as the case may be. Her rare forays to the big screen resulted in two of the more intense heroines inhabiting the world of Hammer horror in the 60's. Password recovery. Marcus Hearn put together this compendium of images from the Hammer archives, organized by actress. Gillian Hills was born on June 5, in Cairo, Egypt. At 16 she was put under contract to Columbia Pictures in the twilight of the Hollywood Studio System where she made 15 motion pictures and was loaned to United Artists for the John Wayne This shocker has a classic plot: England, the young Catherine has just married Charles Fengriffen and moves into his castle. During the s she became a regular nude model in magazines, but she also had a brief career in films, usually playing sexy girls in comedies, dramas and horror films, a few of which were directed by We also get a glimpse into the attitudes of the Hammer executives who The presence of sexy actresses, in and out of lavish costumes, was one of the factors which made the films produced by Hammer so appealing to many fans like myself.
Recommended publications
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • Le Studio Hammer, Laboratoire De L'horreur Moderne
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 12 | 2016 Mapping gender. Old images ; new figures Conference Report: Le studio Hammer, laboratoire de l’horreur moderne Paris, (France), June 12-14, 2016 Conference organized by Mélanie Boissonneau, Gilles Menegaldo and Anne-Marie Paquet-Deyris David Roche Electronic version URL: http://journals.openedition.org/miranda/8195 DOI: 10.4000/miranda.8195 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference David Roche, “Conference Report: Le studio Hammer, laboratoire de l’horreur moderne ”, Miranda [Online], 12 | 2016, Online since 29 February 2016, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/8195 ; DOI: https://doi.org/10.4000/miranda.8195 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Conference Report: Le studio Hammer, laboratoire de l’horreur moderne 1 Conference Report: Le studio Hammer, laboratoire de l’horreur moderne Paris, (France), June 12-14, 2016 Conference organized by Mélanie Boissonneau, Gilles Menegaldo and Anne-Marie Paquet-Deyris David Roche 1 This exciting conference1 was the first entirely devoted to the British exploitation film studio in France. Though the studio had existed since the mid-1940s (after a few productions in the mid-1930s), it gained notoriety in the mid-1950s with a series of readaptations of classic
    [Show full text]
  • Nosferatu (1922) & the Vampire Lovers (1970)
    Sheldon 1 Matthew A. Sheldon Media and Society Andrew Martin 9/27/2014 Nosferatu (1922) & the Vampire Lovers (1970) While watching F.W. Murnau's Nosferatu (1922) and Roy Ward Baker’s the Vampire Lovers (1970) I came to discover that these vampire stories are less about the patriarchal battles of good vs. evil, and more about the repressed sexual battles between a man and a woman within the historical context of its time. Murnau's silent masterpiece Nosferatu is like seeing the vampire movie before it became a trendy pop icon of commercials, jokes, books, and over 100 different films. Nosferatu is still to this day the quintessential vampire film, and its surreal and haunting aesthetics of German Expressionism give off the feeling as if its creators were truly in awe of the legendary material. When reading the article “Dracula in the twilight: Murnau’s Nosferatu” by Judith Mayne, she explores much of the changes that were made when Murnau adapted Nosferatu from Bram Stoker’s 1897 Dracula novel. When listing several of the changes the one change that Mayne seems to directly focus on were Dracula’s central conflict and his relationship to the victims. “First Van Helsing is in no way the protagonist of the film. Instead of a conflict between two patriarchal figures, we have an encounter between a man and a woman” (Mayne, 28). Dracula’s Sheldon 2 famous adversary Van Helsing is reduced from Murnau’s film version and the focus is shifted more towards Jonathan’s beautiful wife Nina. Mayne seems to suggest that Murnau wanted the story to focus less on patriarchal conflicts and explore more of the sexual tension that occurs between Nina, Jonathan and Nosferatu.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligrunent can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Xnfonnation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 SYMPATHY FOR THE DEVIL; FEMALE AUTHORSHIP AND THE LITERARY VAMPIRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor o f Philosophy in the Graduate School of The Ohio State University By Kathy S.
    [Show full text]
  • Hammer's New Blood
    God in the form of the Bible-wielding Puri- tan Weil or the combined force of the town’s officials and schoolmaster, to the usual gory Hammer climax, the action never loses pace. The air of seriousness with which the stories are told also helps to wash away any lingering disbelief felt by the audience. The casts of Twins of Evil and Vampire Circus, particularly Cushing, who attacked every role as though he were playing Hamlet at the Old Vic, clearly believed in what they were doing, and their obvious relish makes the viewer forget (for the most part) the pre- posterousness of the proceedings. In Twins of Evil and Vampire Circus, these dual elements of originality and pac- ing, a common thread throughout Ham- mer’s films, may just be their saving grace. Twins of Evil (1971; Hammer Film Produc- The lovely Collinson twins (Madeleine and Mary), as Maria and tions - The Rank Organization) Director: Frieda Gellhorn, arrive in the village of Karnstein to stay with their HAMMER’S NEW BLOOD John Hough. Producers: Harry Fine, Michael uncle Gustav Weil in 1971’s Twins of Evil. (Courtesy of Photofest) Style. Screenplay: Tudor Gates. Cinematog- By Cleaver Patterson which the studio consistently returned. of production designer Bernard Robinson, rapher: Dick Bush (director of photography). Indeed, except for a couple of exceptions, whose skill at making something from Cast: Peter Cushing, Kathleen Byron, Mad- “Since Helen passed on I can’t find bloodsuckers became their mainstay before nothing, along with the deft touch of cin- eleine Collinson (billed as Madelaine in the anything; the heart, quite simply, has they disappeared completely with Cybill ematographer Jack Asher, created some of credits), Mary Collinson, Damien Thomas, European village of Karnstein is terror- the thrill-seeking Frieda into a vampire.
    [Show full text]
  • For More Than Seventy Years the Horror Film Has
    WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.
    [Show full text]
  • An Examination of Violence and the Lesbian Vampire Narrative
    DEFANGED AND DESIRABLE: AN EXAMINATION OF VIOLENCE AND THE LESBIAN VAMPIRE NARRATIVE Chelsea Graham A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2016 Committee: Piya Pal-Lapinski, Advisor Stephannie Gearhart © 2016 Chelsea Graham All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor The vampire, like any sort of Gothic monster, operates as a conduit for various societal pressures. However, the vampire is seen as particularly adaptable in how it restructures itself as a figure of fear in multiple time periods. This work examines the various forms and fears the lesbian vampire embodies and why society is continually fascinated with such a figure. One of the key texts in my project is Sheridan LeFanu’s novella, Carmilla, published in 1872. LeFanu’s story predates Bram Stoker’s Dracula, and is one of the first major explorations of the lesbian vampire trope including victimology, seduction tactics, and even popular adversaries. Although there are many adaptations which feature a lesbian vampire, my project will be limited to Scott’s film The Hunger, produced in 1983, and season one of the recent Youtube series, Carmilla, produced in 2014. In these various adaptations, I have noted a cycle of violence surrounding the vampire, her adversaries, and victims. What is interesting is how this cycle seems to change with each adaptation of the lesbian vampire’s story depending on the time the story is set in. What is interesting about this trend of shifting cycles and loci of violence is what happens to them when society begins to accept the lesbian vampire and no longer fears her.
    [Show full text]
  • Constructions of Femininity in Sixties Popular Culture
    "Mother … is not quite herself today." (Re)constructions of Femininity in Sixties Popular Culture. “Incidentally, did you see that he’s now produced a virus that produces sterility in the male locust? – Admittedly the female locust can go on producing female locusts for a number of generations without male assistance, but one feels that it must tell sooner or later, or there wouldn’t be much sense in sex, would there…?” (Wyndham 1963: 22) §0. The aim of this paper is to see how the issue of femininit(ies) cross-stitches with that of representation in Sixties popular culture. For this reason I shall be looking at those narrative and cinematic texts which I consider representative of the Zeitgeist of the decade, focusing in particular on those which are most profoundly linked to the visual media – and as such to two period-related communication devices, television and colour filming. My attempt at making a cultural sense of the popular productions of the Sixties (and especially of B- genres such as spy thrillers, horror cinema and SF) is obviously profoundly indebted to a reading of the varying cultural, social, historical, political, and economic, scenario of the period, which finds two crucial - and juxtaposing - watersheds first in the post-war upsurge in conservatism and just a few years on in the post-68 revolutionary social trends, which developed as a consequence of (as well as a reaction to) the widespread change in mores triggered by World War II. As far as the issue of the representation of femininity is concerned, the decade presents at least two opposing, yet overlapping trends.
    [Show full text]
  • Subjects of the Visual Arts: Vampires by Michael G
    Subjects of the Visual Arts: Vampires by Michael G. Cornelius Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Max Schreck as Count An invention of the nineteenth-century, the artistic vampire, as opposed to the Orlok in a promotional photograph for F. W. vampire of folklore, is connected not with disease but with sexuality. For authors, Murnau's film Nosferatu. artists, and filmmakers, artistic vampires represent a common sexualized metaphor-- the release of insurgent passion and emotion--that includes such details as the erotic foreplay of vampires' attacks and the creatures' dependency on the bodily fluid of their victims. From its inception, as an outsider within polite society, the artistic vampire has been consistently linked with homosexuality. Samuel Taylor Coleridge's "Christabel" (1797) portended a lesbian vampire, while John Polidori's "The Vampyre" (1819) depicted a young man's homosocial desire for the dominant male vampire. While this association pervaded much of the Victorian era, by the beginning of the twentieth century, the sexual vampire gave way to a more horrific image, and the first vampire films, F. W. Murnau's Nosferatu (1919) and Tod Browning's London After Midnight (1925), reflect this trend. Early vampire cinema is remarkably heterosexist, belying the literary tradition that spawned it. The sexual revolution of the 1960s, coupled with the Stonewall Riots of 1969 and a new public awareness of homosexuality, soon altered things, and gay and lesbian themes became commonplace in vampire cinema. The first important homosexual vampire film was Roy Ward Baker's The Vampire Lovers (1970), an adaptation of J.
    [Show full text]
  • Title Catalog Link Section Call # Summary Starring 28 Days Later
    Randall Library Horror Films -- October 2009 Check catalog link for availability Title Catalog link Section Call # Summary Starring 28 days later http://uncclc.coast.uncwil. DVD PN1995.9. An infirmary patient wakes up from a coma to Cillian Murphy, Naomie Harris, edu/record=b1917831 Horror H6 A124 an empty room ... in a vacant hospital ... in a Christopher Eccleston, Megan Burns, 2003 deserted city. A powerful virus, which locks Brendan Gleeson victims into a permanent state of murderous rage, has transformed the world around him into a seemingly desolate wasteland. Now a handful of survivors must fight to stay alive, 30 days of night http://uncclc.coast.uncwil. DVD PN1995.9. An isolated Alaskan town is plunged into Josh Hartnett, Melissa George, Danny edu/record=b2058882 Horror H6 A126 darkness for a month each year when the sun Huston, Ben Foster, Mark Boone, Jr., 2008 sinks below the horizon. As the last rays of Mark Rendall, Amber Sainsbury, Manu light fade, the town is attacked by a Bennett bloodthirsty gang of vampires bent on an uninterrupted orgy of destruction. Only the town's husband-and-wife Sheriff team stand 976-EVIL http://uncclc.coast.uncwil. VHS PN1995.9. A contemporary gothic tale of high-tech horror. Stephen Geoffreys, Sandy Dennis, edu/record=b1868584 Horror H6 N552 High school underdog Hoax Wilmoth fills up Lezlie Deane 1989 the idle hours in his seedy hometown fending off the local leather-jacketed thugs, avoiding his overbearing, religious fanatic mother and dreaming of a date with trailer park tempress Suzie. But his quietly desperate life takes a Alfred Hitchcock's http://uncclc.coast.uncwil.
    [Show full text]
  • Page 2 Dazzling Ghostland: Sheridan Le Fanu's Phantasmagoria David
    Page 2 Dazzling Ghostland: Sheridan Le Fanu’s Phantasmagoria David Annwn As the third chapter of Sheridan LeFanu’s Uncle Silas (1865), cuts to the fourth, there occurs a most remarkable moment in 19th century literature of horror. Maud Ruthyn, the youthful protagonist, is thinking over her encounters with members of the Swedenborgian religious sect: Two or three of them crossed in the course of my early life, like magic lantern figures, the disk of my very circumscribed observation.(1) She is dwelling on her recent encounter with Mr Bryerly, a Swedenborgian and thinking of her walk with him past her mother’s sylvan tomb and his consoling words regarding the afterlife. Leaning on my hand, I was now looking upon that solemn wood, white and shadowy in the moonlight, where, for a long time after that ramble with the visionary, I fancied the gate of death, hidden only by a strange glamour, and the dazzling land of ghosts, were situate;(2) For a moment, in Maud’s lulled consciousness, it is as though the border between life and death has become permeable, subject to comings and goings. At the turn of the page and chapter, we jump to: ON A SUDDEN, on the grass before me, stood an odd figure—a very tall woman in grey draperies, nearly white under the moon, courtesying extraordinarily low, and rather fantastically. I stared in something like a horror upon the large and rather hollow features which I did not know, smiling very unpleasantly on me; and the moment it was plain that I saw her, the grey woman began gobbling and cackling shrilly—I could not distinctly hear what through the window—and gesticulating oddly with her long hands and arms.(3) Does our consciousness, as readers, move in upon the vision here or does this tall image seem to rise out of the land of the dead towards us? Perhaps both simultaneously, because this moment is a nexus of conflicting spatial urges and affronts to these.
    [Show full text]