A Senior Moment Newsletter October 2010

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A Senior Moment Newsletter October 2010 www.laffey.com/seniorspecialists Home Modifications Help You Age In Place. Even small changes make a big difference 11/25/2009 Silver Planet, K. L.Braitmayer FAIA Upgrading your home through ‘thoughtful design’ can help reduce stress and make your home safer as you age-in-place. 1: Replace door knobs for lever handles. 2: Add a handheld shower head along with grab bars in the bathroom. 3: Remove throw rugs or tape them down. 4: Relocate dishes and glassware to a lower level. 5: Use appliances that respond to Verbal Commands. MORE POPULAR THAN INDOOR MOVIES This Month’s Featured Site th John Hancock Long Term Care It was on June 6 1933, that the first drive in theater opened with a sheet for a http://www.newyorkpartners.jhancock.com screen and a 1924 Kodak projector on the hood of his car, Richard Hollinshead The Benefit Of Planning Ahead invented what some later would call“The We are all living longer so you must be prepared for Greatest Threat Ever To A Women’s the costs of Long Term Care. Protect your assets, Purity” in his New Jersey driveway. By your quality of life and your family’s well being with a 1950, the number of drive-ins peaked at sound Long Term Care Financial Plan. John Hancock 5,000, ranging in size from 64 cars to is an experienced leader in Long Term Care space of more than 3,000.The baby boom Insurance with the Highest Financial Strength created the surge. Most Theaters had Ratings. You can e-mail Susan Denenberg at large playgrounds with concession [email protected] or call 516-222-5041 stands serving every junkfood imaginable. It was a ‘Cheap’ night out for young families. At UPCOMING EVENTS the cost of maybe a buck – in the days Project Independence Open House when gas was 20cents a gallon and bread Refreshments will be served 14cents a loaf – parents could have a Friday, October 15, 2010 night of family fun ‘At the Movies’, no babysitter necessary. High schoolers back 12:00 noon – 3:00 p.m. then – we guys, anyway – preferred Clinton G. Martin Park horror films, like ‘Blood Of Dracula’. 1601 Marcus Avenue, Boris Karloff and Bella Lugosi – those New Hyde Park guys were perfect. Scary enough to frighten our dates into our protective arms, boring enough that, once there, We Help You Navigate The Senior Maze the movie was soon forgotten. Donna Quinn Jeff Stone 516-250-2627 917-741-8294 To receive your complimentary monthly [email protected] newsletter, call or email us today! www.laffey.com/seniorspecialists.

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Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula
Droch Fhola: Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula Author: Joseph A Mendes Persistent link: http://hdl.handle.net/2345/399 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2005 Copyright is held by the author, with all rights reserved, unless otherwise noted. 1 Introduction: Dracula. Drac-ula . It is hard to ignore the menace in the name, the morbid delight one gets in pronouncing a name that is riddled with such meaning. At some level, human society is fascinated with the notion of a vampire: a revenant that ret urns from beyond the grave to extract the blood of the living in order to extend its unholy life. It plays on our basic fears as humans, the fear of the dead, the fear of dying, the fear of the unknown, and a fascination with this substance consisting of p lasma, platelets, and cells that runs through our veins. Bram Stoker took all of these fears to new heights when he wrote Dracula , one of the most enduring horror stories to ever be composed. The novel has generated enormous criticism that has chiefly been divided into the camps of Irishness, colonialism/imperialism, and sexuality. Whether it was intentional or not, Stoker’s novel is a breeding ground for almost every sexual fetish, deviance, and perversion that is known to mankind. Characters in the novel engage in mutilation, blood-drinking, perverted fellation, sexual acts in front of their spouse, female domination, male domination, group rape, homosexuality, male penetration, and sadomasochism.
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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.
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Blood and Images in Dracula 2000
Journal of Dracula Studies Volume 8 2006 Article 3 2006 "The coin of our realm": Blood and Images in Dracula 2000 Alan S. Ambrisco University of Akron, Ohio Lance Svehla University of Akron, Ohio 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 Ambrisco, Alan S. and Svehla, Lance (2006) ""The coin of our realm": Blood and Images in Dracula 2000," Journal of Dracula Studies: Vol. 8 , Article 3. Available at: https://research.library.kutztown.edu/dracula-studies/vol8/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],. "The coin of our realm": Blood and Images in Dracula 2000 Cover Page Footnote Alan S. Ambrisco is an Associate Professor of English at The University of Akron. His research interests include medieval literature and the history of monsters. Lance Svehla is an Associate Professor of English at the University of Akron. He has published work in such journals as Teaching English in the Two-Year College and College Literature. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol8/ iss1/3 “The coin of our realm”: Blood and Images in Dracula 2000 Alan S. Ambrisco and Lance Svehla [Alan S.
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Magazine Media
FEBRUARY 2010: THE FANTASY ISSUE M M MediaMagazine edia agazine Menglish and media centre issue 31 | februaryM 2010 Superheroes Dexter Vampires english and media centre Aliens Dystopia Apocalypses | issue 31 | february 2010 MM MM MediaMagazine is published by the English and Media Centre, a non-profit making organisation. editorial The Centre publishes a wide range of classroom materials and runs courses for teachers. If you’re studying English at A Level, look out e thought our last issue, on Reality, was one of our best yet, for emagazine, also published by Wbut this Fantasy-themed edition is just as inspired. Perhaps the Centre. our curiosity about the real and our fascination with fantasy are two sides of the same coin … The English and Media Centre 18 Compton Terrace By way of context, Annette Hill explores the factors behind London N1 2UN our current passion for the afterlife and the paranormal, while Telephone: 020 7359 8080 Chris Bruce suggests ways of investigating fantasy across media Fax: 020 7354 0133 platforms from an examiner’s perspective and Jerome Monahan provides an Email for subscription enquiries: illustrated history of fantasy at the movies via Jung, the Gothic and the ghost story. [email protected] We have a volley of vampires from Buffy to True Blood’s Bill, by way of Let The Right One In, and some persuasive and chilling accounts of how they represent real world Managing Editor: Michael Simons prejudices and fears. In a cluster of superhero articles, Matt Freeman explores the Editor: Jenny Grahame cultural significance of Superman, while Steph Hendry unpicks the ideologies of Editorial assistant/admin: superheroes and their relevance in a post-9/11 world – and identifies the world’s Rebecca Scambler first superheroic serial-killer.
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Unseen Horrors: the Unmade Films of Hammer
Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding.
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Here There Be Monsters an Environmental Art Show by Laura & Gary Dumm Bayarts - Diane Boldman Education Gallery Opening Oct
Here There Be Monsters An Environmental Art Show by Laura & Gary Dumm BAYarts - Diane Boldman Education Gallery Opening Oct. 7th 5-9pm; Show through October 25th For more information, contact the Dumms: 216-961-0230 or email, [email protected] Legend has it that Middle Age cartographers brandished words of warning on the unexplored areas of their maps. “Here There Be Monsters; Dragons Be Here.” However, modern times can reveal the known to be more ghastly than the unknown as Laura and Gary Dumm explore in their latest environmental pop-surrealist art series. Iconic movie monsters, who were often the by-products of corporate greed and human egotism manipulating nature to spawn our own annihilation, are used to present the consequences of pollution, climate change, genetic engineering, for profit destruction of animal habitats, and extinctions. We are mutating into the monsters devouring our world. The following pages are samples of the paintings, along with a short description. To Bee Or Not To Be Decimation of the bee population and pollinators will come back to sting us with the reduction of our food supply. Humans are deft at destruction. Stronger societies obliterate weaker ones. And whole species may not survive due to lack of food, harsh climate, predation and the inability to adapt. How many of us would be willing to grow a garden and pollinate the plants ourselves after we’ve destroyed a species merely because they were inconvenient? Scream of the Butterflies As we poison insects’ food supply, we also poison our own. Pesticides are welcomed for making plants insect-resistant, but the resulting adverse consequences to multiple species including our own is problematic.
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Download the Digital Booklet
ammer was the first film production company to exploit the ‘adults only’ X certificate for the purpose of horror entertainment. Not that everybody in late H1950s Britain saw the company’s innovative brand of Grand Guignol as entertainment. Detached eyeballs, severed limbs and splashes of Eastmancolor gore were eminently censorable, leaving some films so compromised that modern audiences struggle to see what all the fuss was about. The film’s scores, however, usually escaped the attention of those who struggled to keep up with the pace of cultural change. Hammer’s production design was noted for its elegance, and the actors the company employed were commendably understated, but composers and conductors usually appreciated that there was little call for subtlety in Hammer’s underlying approach. The posters proclaimed that these films were designed to shock, and as soon as the house lights dimmed it was the job of the theme music to heighten that anticipation. In the early years of Hammer horror the scores commissioned by John Hollingsworth and written by the prolific James Bernard were bombastic, doom- laden affairs, establishing Bernard’s trademark of echoing the syllables of the film’s title in the musical phrasing of the theme. The most famous example of this approach can be heard in the score for Dracula (1958), elements of which would be reprised numerous times up to and including The Legend of the 7 Golden Vampires (1974). Bernard’s association with Hammer typecast him in the eyes of the snobbish film establishment, but under the baton of Hollingsworth’s successor, Philip Martell, he would prove his versatility with more lyrical themes for She (1965) and Taste the Blood of Dracula (1970).
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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.
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Colonial Hybridity and Irishness in Bram Stoker's Dracula Kristy Eve Snow
Undergraduate Review Volume 11 Article 20 2015 Colonial Hybridity and Irishness in Bram Stoker's Dracula Kristy Eve Snow Follow this and additional works at: http://vc.bridgew.edu/undergrad_rev Recommended Citation Snow, Kristy Eve (2015). Colonial Hybridity and Irishness in Bram Stoker's Dracula. Undergraduate Review, 11, 114-119. Available at: http://vc.bridgew.edu/undergrad_rev/vol11/iss1/20 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Copyright © 2015 Kristy Eve Snow his. The once displaced Anglo-Irish prevented the Irish Colonial Hybridity and peasantry class from progressing through an antiquated feudal system and leasing land for tenant subsistence farming. This Irishness in Bram Stoker’s antiquated structure of land-ownership continued well into the nineteenth century and exacerbated the devastation of the Irish Dracula Potato Famine of 1845-1852. It also exaggerated the imperial condemnation of the Irish as a “diseased stock,” as over one KRISTY EVE SNOW million people died of starvation, poverty, and famine-related illnesses (Gibbons 43). In his article “The Cultural Effects of the Famine,” Kevin Whelan argues that while the Famine Introduction stagnated the culture of Ireland in the immediate post-famine A Brief Irish Colonial History & Stoker’s Vampire period, it later prompted vast cultural changes in the post- reland’s political and colonial relationship with England can famine generation of the 1880’s—including the centralization be traced back roughly one thousand years to the Norman of the Catholic Church as a moral and religious authority, as Invasions of 1169.
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Dracula in the Comics
Dracula in the Comics Perry Lake [Perry Lake not only reads comic books, he writes and illustrates them for adult comics such as Demi the Demoness and Sex Squad, sometimes featuring his Cassiopeia the Witch character.] Dracula Lives! Is this a defiant declaration of the immortality of the most evil fiend the world has ever known? Or is it the pitiful admission that humanity’s greatest undead threat will never be defeated? Neither. It is the title of a comic book. In magazine format, Dracula Lives! ran from 1973 to 1975, and was published by Marvel Comics. But it was by no means the only appearance of the King Vampire in graphic format. When Dracula fell into public domain, Bram Stoker’s vampire lord appeared in other novels, short stories, scores of motion pictures, a couple of television series, Halloween costumes, computer games, and even on a brand of breakfast cereal. But while there has been much discussion and analysis of these versions of Dracula, less attention has been given to the amazing number of appearances by Dracula in the field of comic books. Not only have a variety of comic book writers and artists dealt with the character Dracula, but so have different publishers. The most famous of these comic books is Marvel Comics’ The Tomb of Dracula, which ran for seventy issues from 1971 to 1979. Though best known, they are not alone. Oddly enough, even though there is the potential for a wide interpretation of the character, the majority of the comics seem to conform to a particular pattern.
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Sample File Night's Black Agents THRILL OF
Sample file night's black agents THRILL OF Sample file Publisher: Cathriona Tobin Assistant Publisher: Simon Rogers Author: Kenneth Hite Cover Art & Design: Nathan D. Paoletta Dracula Dossier ads: chris huth Poster Images: Where images are not public domain they are copyright their respective owners, and no challenge is intended – they are reproduced under Fair Use doctrine. Allowances are made under Section 107 of the Copyright Act 1976 for –fair use– for purposes such as criticism, scholarship and comment. No free equivalent exists that would effectively identify the article's subject, and the images do not in any way limit the ability of the copyright owners to market or sell their product. Interior Layout: Nathan D. Paoletta Sample file Copyright © 2016 Pelgrane Press Ltd. Dracula Dossier and Operation Edom are trademarks of Pelgrane Press Ltd. Pelgrane Press is co-owned by Simon Rogers and Cathriona Tobin. THE THRILL OF DRACULA 4 THE SECOND LIFETIME 39 What I Included 5 The Horror of Dracula (1958) 40 The Good Stuff 7 The Brides of Dracula (1960) 42 Dracula, Prince of Darkness (1966) 43 THE BEGINNINGS 8 Dracula (1968) 45 Mythemes and Motifs 9 Dracula Has Risen From the The Dracula Atrocity Literature Grave (1968) 47 (1462-1568) 9 Count Dracula (1970) 49 Taste the Blood of Dracula (1970) 51 Dracula (1897) 11 Scars of Dracula (1970) 53 Characters 11 Dracula A.D. 1972 (1972) 54 Mythemes 12 Bram Stoker’s Dracula (1973) 56 Settings 14 Satanic Rites of Dracula (1974) 58 The Legend of the 7 Golden THE FIRST LIFETIME 15 Vampires (1974) 60 The Dramas 16 Count Dracula (1977) 61 Nosferatu the Vampyre (1979) 63 Nosferatu (1922) 17 Dracula (1979) 64 Dracula: The Vampire Play Monster Squad (1987) 66 (1924, 1927) 18 Sundown: The Vampire in Dracula (1931) Sample20 fileRetreat (1991) 68 Drácula (1931) 22 Bram Stoker’s Dracula (1992) 69 Dracula’s Daughter (1936) 24 Dracula: Dead and Loving It (1995) 70 Dracula (1938) 26 Dracula 2000 (2000) 71 Son of Dracula (1943) 27 Buffy vs.
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Revisiting Stoker's Dracula: No Brave Good Villains Left
Journal of Literature and Art Studies, ISSN 2159-5836 August 2014, Vol. 4, No. 8, 653-660 D DAVID PUBLISHING Revisiting Stoker’s Dracula: No Brave Good Villains Left∗ Carla Ferreira de Castro University of Évora, Évora, Portugal This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker’s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny “pure” evilness. Stoker’s Dracula (1897) introduced the plausibility―in the realm of the gothic horror novel―of finding heroes in modern day “villains”. This paper will argue this influence by introducing connections with modern “pop” vampires: from the teenage vampires in the Twilight saga both the texts (2005, 2006, 2007, & 2008) and the film versions ( 2008, 2009, 2010, & 2012), to the grown-up fantasies of Charlaine Harris in the True Blood saga (both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014) and Tim Burton’s Dark Shadows (2012), the remake of the 70s American Broadcasting Company Gothic soap opera (which ran between june 1966 to April 1977). Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modern society is out of brave good villains.
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