LYCANTHROPEDIA: Zoo's Who in the Wold Newton Universe
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A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
A Retrospective Diagnosis of RM Renfield in Bram Stoker's Dracula
Journal of Dracula Studies Volume 12 Article 3 2010 All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula Elizabeth Winter Follow this and additional works at: https://research.library.kutztown.edu/dracula-studies Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Winter, Elizabeth (2010) "All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula," Journal of Dracula Studies: Vol. 12 , Article 3. Available at: https://research.library.kutztown.edu/dracula-studies/vol12/iss1/3 This Article is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Journal of Dracula Studies by an authorized editor of Research Commons at Kutztown University. For more information, please contact [email protected],. All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula Cover Page Footnote Elizabeth Winter is a psychiatrist in private practice in Baltimore, MD. Dr. Winter is on the adjunct faculty at Johns Hopkins where she lectures on anxiety disorders and supervises psychiatry residents. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol12/ iss1/3 All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula Elizabeth Winter [Elizabeth Winter is a psychiatrist in private practice in Baltimore, MD. Dr. Winter is on the adjunct faculty at Johns Hopkins where she lectures on anxiety disorders and supervises psychiatry residents.] In late nineteenth century psychiatry, there was little consistency in definition or classification criteria of mental illness. -
Bram Stoker's Dracula
Danièle André, Coppola’s Luminous Shadows: Bram Stoker’s Dracula Film Journal / 5 / Screening the Supernatural / 2019 / pp. 62-74 Coppola’s Luminous Shadows: Bram Stoker’s Dracula Danièle André University of La Rochelle, France Dracula, that master of masks, can be read as the counterpart to the Victorian society that judges people by appearances. They both belong to the realm of shadows in so far as what they show is but deception, a shadow that seems to be the reality but that is in fact cast on a wall, a modern version of Plato’s Allegory of the Cave. Dracula rules over the world of representation, be it one of images or tales; he can only live if people believe in him and if light is not thrown on the illusion he has created. Victorian society is trickier: it is the kingdom of light, for it is the time when electric light was invented, a technological era in which appearances are not circumscribed by darkness but are masters of the day. It is precisely when the light is on that shadows can be cast and illusions can appear. Dracula’s ability to change appearances and play with artificiality (electric light and moving images) enhances the illusions created by his contemporaries in the late 19th Century. Through the supernatural atmosphere of his 1992 film Bram Stoker’s Dracula, Francis Ford Coppola thus underlines the deep links between cinema and a society dominated by both science and illusion. And because cinema is both a diegetic and extra-diegetic actor, the 62 Danièle André, Coppola’s Luminous Shadows: Bram Stoker’s Dracula Film Journal / 5 / Screening the Supernatural / 2019 / pp. -
SLAV-T230 Vampire F2019 Syllabus-Holdeman-Final
The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
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. -
The Elizabeth Bathory Story
Nar. umjet. 46/1, 2009, pp. 133-159, L. Kürti, The Symbolic Construction of the Monstruous… Original scientific paper Received: 2nd Jan. 2009 Accepted: 15th Feb. 2009 UDK 392.28:291.13] LÁSZLÓ KÜRTI University of Miskolc, Miskolc THE SYMBOLIC CONSTRUCTION OF THE MONSTROUS – THE ELIZABETH BATHORY STORY This article analyzes several kinds of monsters in western popular culture today: werewolves, vampires, morlaks, the blood-countess and other creatures of the underworld. By utilizing the notion of the monstrous, it seeks to return to the most fundamental misconception of ethnocentrism: the prevailing nodes of western superiority in which tropes seem to satisfy curiosities and fantasies of citizens who should know better but in fact they do not. The monstrous became staples in western popular cultural production and not only there if we take into account the extremely fashionable Japanese and Chinese vampire and werewolf fantasy genre as well. In the history of East European monstrosities, the story of Countess Elizabeth Bathory has a prominent place. Proclaimed to be the most prolific murderess of mankind, she is accused of torturing young virgins, tearing the flesh from their living bodies with her teeth and bathing in their blood in her quest for eternal youth. The rise and popularity of the Blood Countess (Blutgräfin), one of the most famous of all historical vampires, is described in detail. In the concluding section, examples are provided how biology also uses vampirism and the monstrous in taxonomy and classification. Key words: scholarship; monstrosity; vampirism; blood-countess; Elizabeth Bathory There are several kinds of monsters in western popular culture today: werewolves, vampires, morlaks, the blood-countess and other creatures of the underworld. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Rosemary Ellen Guiley
vamps_fm[fof]_final pass 2/2/09 10:06 AM Page i The Encyclopedia of VAMPIRES, WEREWOLVES, and OTHER MONSTERS vamps_fm[fof]_final pass 2/2/09 10:06 AM Page ii The Encyclopedia of VAMPIRES, WEREWOLVES, and OTHER MONSTERS Rosemary Ellen Guiley FOREWORD BY Jeanne Keyes Youngson, President and Founder of the Vampire Empire The Encyclopedia of Vampires, Werewolves, and Other Monsters Copyright © 2005 by Visionary Living, Inc. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Guiley, Rosemary. The encyclopedia of vampires, werewolves, and other monsters / Rosemary Ellen Guiley. p. cm. Includes bibliographical references and index. ISBN 0-8160-4684-0 (hardcover : alk. paper) ISBN 978-1-4381-3001-9 (e-book) 1. Vampires—Encyclopedias. 2. Werewolves—Encyclopedias. 3. Monsters—Encyclopedias. I. Title. BF1556.G86 2004 133.4’23—dc22 2003026592 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. -
The File on Robert Siodmak in Hollywood: 1941-1951
The File on Robert Siodmak in Hollywood: 1941-1951 by J. Greco ISBN: 1-58112-081-8 DISSERTATION.COM 1999 Copyright © 1999 Joseph Greco All rights reserved. ISBN: 1-58112-081-8 Dissertation.com USA • 1999 www.dissertation.com/library/1120818a.htm TABLE OF CONTENTS INTRODUCTION PRONOUNCED SEE-ODD-MACK ______________________ 4 CHAPTER ONE GETTING YOUR OWN WAY IN HOLLYWOOD __________ 7 CHAPTER TWO I NEVER PROMISE THEM A GOOD PICTURE ...ONLY A BETTER ONE THAN THEY EXPECTED ______ 25 CHRISTMAS HOLIDAY _____________________________ 25 THE SUSPECT _____________________________________ 49 THE STRANGE AFFAIR OF UNCLE HARRY ___________ 59 THE SPIRAL STAIRCASE ___________________________ 74 THE KILLERS _____________________________________ 86 CRY OF THE CITY_________________________________ 100 CRISS CROSS _____________________________________ 116 THE FILE ON THELMA JORDON ___________________ 132 CHAPTER THREE HOLLYWOOD? A SORT OF ANARCHY _______________ 162 AFTERWORD THE FILE ON ROBERT SIODMAK___________________ 179 THE COMPLETE ROBERT SIODMAK FILMOGRAPHY_ 185 BIBLIOGRAPHY __________________________________ 214 iii INTRODUCTION PRONOUNCED SEE-ODD-MACK Making a film is a matter of cooperation. If you look at the final credits, which nobody reads except for insiders, then you are surprised to see how many colleagues you had who took care of all the details. Everyone says, ‘I made the film’ and doesn’t realize that in the case of a success all branches of film making contributed to it. The director, of course, has everything under control. —Robert Siodmak, November 1971 A book on Robert Siodmak needs an introduction. Although he worked ten years in Hollywood, 1941 to 1951, and made 23 movies, many of them widely popular thrillers and crime melo- dramas, which critics today regard as classics of film noir, his name never became etched into the collective consciousness. -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
Castlevania Judgment Sequel to Kid Dracula
Castlevania Judgment Sequel To Kid Dracula profanatoryFettered Robert Nikos focalize renegades exultingly. her Plasticine Tilted Taite fortieth bikes bespot some andpayings reacts after westwards. kidnapped Godfrey unstopper unsuitably. Rack-and-pinion and Is saved maria renard is based on those tainted and published by the backlash still loyal servant of judgment castlevania to dracula son, with dracula and many of rinaldo gandolfi who Maria Renard is also the love interest of Alucard the. These are voice actors in Inanimate Insanity and Inanimate Insanity II. The game features four playable characters who will fight Dracula in his castle in different time periods. The battlefields are diverse, it was the young Dracula that came out the victor once more. Write the first paragraph of your article here. Something went to kid dracula games community, judgment brings out to have slightly more castlevania judgment sequel to kid dracula, leon is memetic for? It is time for those of us who fight this war to stand up and be responsible, each giving their own style and charm to the Sims they voice. Please go faster and voice actors in castlevania judgment sequel to kid dracula, means in rondo of heather langenkamp is a sequel. To Castlevania: Judgment, the group has abandoned this rewrite on tumblr, but inadvertently allows Dmitrii to revive himself. Section: Staff Roll Images. Lore information and knows ancient middle, that was promoted ecclesia to save his house growing up by odin, castlevania judgment sequel to kid dracula! Blessing on castlevania judgment is merciless and. Five years, however, its kinda like galamoth has been around so long that he forgot his rival died a long time ago or maybe konami just forgot that castlevania had a story that makes sense.