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Gothic effigy brings together for the first time the multifarious
visual motifs and media associated with Gothic, many of which have
never received serious study before. This guide is the most
comprehensive work in its field, a study aid that draws links
between a considerable array of Gothic visual works and artifacts,
from the work of Salvator Rosa and the first illustrations of
Gothic Blue Books to the latest Gothic painters and graphic
artists. Currently popular areas such as Gothic fashion, gaming,
T.V. and film are considered, as well as the ghostly images of
magic lantern shows. This groundbreaking study will serve as an
invaluable reference and research book. In its wide range and
closely detailed descriptions, it will be very attractive for
students, academics, collectors, fans of popular Gothic culture and
general readers. -- .
This book is the first study of the vampires in silent cinema,
presenting a detailed academic yet accessible discussion of the
films themselves and their sources. For the very first time, The
Fire Elemental from the Wharton brothers’ The Mysteries of Myra
(1916) is identified as cinema’s original vampire, his appearance
initiating a rich and variegated period of film production that is
currently missing from studies of horror cinema. Exciting and
ground-breaking, Vampires on the Silent Screen also discusses
Drakula Halála / Dracula’s death (1920), the first ever filmic
female vampire in Erich Kober’s Lilith and Ly (1919), and the
Dracula lookalike, Count Merlin in Alexander Korda’s Magic (1917)
as well as many other productions. AÂ socio-cultural framework
with critical highlighting of eco-horror theory is used throughout
to draw these unique discoveries together. This project is a must
read for any horror enthusiasts out there.
"The Mysterious Stranger," an anonymous tale originally published
in German in 1823 and translated into English soon after, is the
earliest vampire story with many of the elements that later found
their way into Bram Stoker's Dracula: a Carpathian Mountains
setting, an aristocratic vampire who sleeps in a coffin in a ruined
crypt by day and has dominion over wolves, a young woman in
peril.... Long out of print, this story is a gripping read in its
own right. The volume is completed with two other rarely reprinted
vampire tales: "The Last Lords of Gardonal" (1867) by William
Gilbert, the father of the famous D'Oyly Carte librettist, and Mary
Cholondeley's 1890 chiller, "Let Loose."
This is a ground-breaking exploration that runs generally against
the critical grain in identifying a burgeoning production of films
of fear and horror before the admission of the horror film genre
per se. It is a study that reveals and emphasises the formative and
innovative power of film, from Georges Melies's Le Manoir du Diable
(1896) to Edgar G. Ulmer's superbly reflexive The Black Cat (1934).
With its focus on twenty-one key films, and referencing other
relevant productions, the present study involves an inclusive and
sensitive approach. It reveals an awareness of the heterogeneity of
horror production with the discussion spanning the period of the
invention of movies, the expansion from single-reelers to longer
and continuous productions, and the advent of talkies. Stepping
beyond the bounds of Anglo-American studios, in its seven chapters
the book involves the work of directors from France, Spain,
England, Moravia, Germany, Italy, Denmark, Mexico and the USA, to
consider and compare films that have not previously received
serious attention.
Gavin Selerie (poet, and Shearsman author) is currently one of the
most skilful and imaginative exponents of the long, book-length
poem in English. His friends and colleagues gather together here in
this volume to offer poems, essays, interviews, memoirs,
photographs and artworks in his honour, along with some reprinted
pieces by Gavin himself. Contributors are Gilbert Adair, Gillian
Allnutt, David Annwn, Tilla Brading, Ian Brinton, Lyndon Davies,
Laurie Duggan, Andrew Duncan, Ken Edwards, Amy Evans Bauer, Allen
Fisher, Harry Gilonis, John Goodby, Giles Goodland, Alan Halsey,
Robert Hampson, Randolph Healy, Jeff Hilson, Paul Holman, David
Hackbridge Johnson, Ian MacFadyen, Matt Martin, Ian McMillan,
Susana Medina, Anthony Mellors, Peter Middleton, David Miller,
Lesley Newland, Frances Presley, Elaine Randell, Gregory Vincent
St. Thomasino, Gavin Selerie, Peterjon Skelt, Yasmin Skelt, Simon
Smith and Mandie Wright.
This exciting volume combines the diverse talents of an impressive
range of writer-critics in an engaged and lively response to the
poetry of Geraldine Monk. Monk's reputation as one of the most
exciting and provocative writer-performers on the British scene has
been established for some time and this new collection aims to
reflect critically on a prolific career which has spawned fourteen
major works in the last twenty five years. The contributions within
pursue several lines of enquiry beginning with considerations of
the early pamphlets published in the late seventies and early
eighties, the substantial works of the mid-late 80s and 90s and the
major collections of the beginning of the twenty first century.
Unsurprisingly what many consider as one of Monk's finest books,
1994's Interrregnum (now available in the new Salt Selected Poems)
- a stunningly complex evocation of the fate of the Pendle Witches
- is examined from a variety of angles concerning its poetics of
difficulty, its relationship to ideas of place, nature and
eco-criticism, and its politics. Other contributors look at the
presence of the 'eerie' in Monk's work; the role and function of
children's games throughout her oeuvre and the ways Monk engages
with the visual and the sonic aspects of language. This will be the
first collection of critical responses to Monk's poetry and will be
a must for any reader interested in engaging with this dynamic and
strenuous writer.
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