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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). -
“The Bride of Frankenstein” (1935) by Dr
Short Review: “The Bride of Frankenstein” (1935) by Dr. John L. Flynn Bride of Frankenstein, The (1935). Universal, b/w, 80 min. Director: James Whale. Producer: Carl Laemmle. Screenwriters: John Balderston and Willim Hurlbut. Cast: Boris Karloff, Colin Clive, Elsa Lanchester, Ernest Thesiger, Valerie Hobson, and Dwight Frye. The first of many Universal sequels following Whale’s classic, this was one of the few sequels that was actually superior to the original. After a brief prologue that pays homage to Mary and Percy Shelley, Lord Byron and their writing competition that inspired Frankenstein, the film picks up right where the original ended, with the monster (Karloff) dying in fire. But the monster did not die, and is soon out terrorizing the locals again. Dr. Praetorius (Thesiger) and his demented assistant Karl (Frye) pay Frankenstein (Clive) a visit, and soon the three are at work on a new creature (Lanchester). Not long after his “bride” is brought to life, the monster drops in to claim her, but she only has eyes for Frankenstein. Angered, the monster blows up the laboratory, and the usual conflagration consumes them all. “Bride” was clearly the most stylishly mounted production of the 1930's, and represents a high-water mark of the Golden Age of the American Horror Film. But it should be noted that the film title is really a misnomer and has contributed much to the confusion of the mad doctor's name with the monster. The title should have been "The Bride of the Monster of Frankenstein." Oh, well. Followed four years later by “Son of Frankenstein.” Copyright 2016 by John L. -
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. -
Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
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. -
John Zacherle, One of the First of the Late-Night Television Horror-Movie
OBITUARIES 10/29/2016 By WILLIAM GRIMES John Zacherle as the playfully spooky Zacherley in the 1950s. Louis Nemeth John Zacherle, one of the first of the late-night television horror-movie hosts, who played a crypt-dwelling undertaker with a booming graveyard laugh on stations in Philadelphia and New York in the late 1950s and early ’60s, died on Thursday at his home in Manhattan. He was 98. His death was announced by friends and a fan website. Mr. Zacherle, billed as Zacherley in New York, was not the first horror host — that honor goes to Maila Nurmi, the Finnish-born actress who began camping it up as Vampira on KABC-TV in Los Angeles in 1954 — but he was the most famous, inspiring a host of imitators at local stations around the country. As Roland in Philadelphia (pronounced ro-LAHND) and Zacherley in New York, he added grisly theatrics and absurdist humor to the entertainment on offer, which more often than not was less than Oscar quality. He became a cult figure, making star appearances at horror conventions across the Northeast. Dressed in a long black frock coat decorated with a large medal from the government of Transylvania, Roland introduced, and interrupted, the evening’s film with comic bits involving characters who existed only as props in his crypt-cum-laboratory. John Zacherle in 2012. Julie Glassberg for The New York Times There was My Dear, his wife, recumbent in a coffin with a stake in her heart, and his son, Gasport, a series of moans within a potato bag suspended from the ceiling. -
A Reappraisal of Three Character Actors from Hollywood’S Golden Age
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar. -
California State University, Northridge Beelzeburg A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE BEELZEBURG A graduate project submitted in partial fulfillment of requirements For the degree of Master of Arts in Screenwriting By Aaron Vaccaro December 2016 The graduate project of Aaron Vaccaro is approved: _____________________________________________ _____________________ Professor Eric W. Edson, MFA Date _____________________________________________ _____________________ Professor Alexis Krasilovsky, MFA Date _____________________________________________ _____________________ Professor Kenneth S. Portnoy, MFA, Chair Date California State University, Northridge ii Table of Contents: Signature page……………………………………………………………..ii Abstract………………………………………………………………..…..iv Beelzeburg…………………………………………………………………1 iii ABSTRACT BEELZEBURG By Aaron Vaccaro Master of Arts in Screenwriting Beelzeburg is a dark comedy set in St. Paul, Minnesota in 1962 about Marty Burg, a schlubby, Jewish, introverted momma’s boy who dreams of being a famous actor, but feels doomed to be forever stuck under his mother’s thumb and take over the family deli when she retires. Marty’s luck changes one day when his local television idol, Count Verdugo, host of “Count Verdugo’s Shock Theater” drops dead on live television. Seeing an opportunity, Marty creates his horror host alter-ego “Beelzeburg” and convinces the local television station to give him a shot at hosting “Shock Theater.” When it goes disastrously, Marty thinks his acting dreams are over before they’ve even begun, but it turns out the people of St. Paul can’t get enough of Beelzeburg, leading Marty to become an instant local celebrity, beloved by the city. However, the person whose respect he yearns for the most, his mother’s, he isn’t able to achieve, leading his mother to disavow Marty for turning his back on his family. -
CANADA's ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 Pm Carlson Family Stage
2016 // 17 SEASON Northrop Presents CANADA'S ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 pm Carlson Family Stage DRACULA Dear Northrop Dance Lovers, Northrop at the University of Minnesota Presents It’s great to welcome Canada’s Royal Winnipeg Ballet back to Northrop! We presented their WONDERLAND at the Orpheum in 2011, but they last appeared on this stage in 2009 with their sensational Moulin Rouge. Northrop was a CANADA'S ROYAL very different venue then, and the dancers are delighting in the transformation of this historic space. The work that Royal Winnipeg brings us tonight boasts WINNIPEG BALLET quite a history as well. When it first came out in 1897, Bram th Stoker’s novel was popular enough, but it was the early 20 Under the distinguished Patronage of His Excellency century film versions that really caused its popularity to The Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D. skyrocket. The play DRACULA appeared in London in 1924 Governor General of Canada and had a successful three-year tour, and then the American version opened in New York City in 1927 and grossed over $2 Founders, GWENETH LLOYD & BETTY FARRALLY million in its first year (that’s in 1927 dollars, and 1927 ticket Artistic Director Emeritus, ARNOLD SPOHR, C.C., O.M. prices). Founding Director, School Professional Division, DAVID MORONI, C.M. Founding Director, School Recreational Division, JEAN MACKENZIE Christine Tschida. Photo by Tim Rummelhoff. So, what is it about this vampire tale that still evokes dread and horror, but most of all, fascination? That’s a subject Artistic Director currently being explored by our first University Honors Program-coordinated interdisciplinary, outside- ANDRÉ LEWIS the-classroom Honors Experience: Dracula in Multimedia. -
Riccardo Freda’S I Vampiri (1957) and the Birth of Italian Horror
Northumbria Research Link Citation: Guarneri, Michael (2017) The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective. Palgrave Communications, 3 (1). p. 29. ISSN 2055-1045 Published by: Palgrave Macmillan URL: https://doi.org/10.1057/s41599-017-0030-3 <https://doi.org/10.1057/s41599-017- 0030-3> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/32602/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ARTICLE DOI: 10.1057/s41599-017-0030-3 OPEN The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective Michael Guarneri1 ABSTRACT Scholars tend to agree on Riccardo Freda’s I vampiri (1957) being the first Italian horror film. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.