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The case of Blood on Satan’s Claw
Paul Newland

features in the cross-​genre, cult, ‘undead biker’ film Psychomania (Don Sharp, 1971), for example. This ‘Seven Witches’ stone circle was a fabricated set, but the shooting of the sequence was still done on location in rural southern England (but not far from Shepperton). The potentially subterranean nature of rural landscape is also a key thematic feature of Hammer films. For example, the eponymous hound in The Hound of Folk horror: the case of  Blood on Satan’s Claw 171 the Baskervilles is concealed in a disused mine, as are the zombies in The Plague of the Zombies

in British rural landscapes on film
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Graphic children’s texts and the twenty-first-century monster
Jessica Straley

. Frankenstein . Dir. James Whale. Universal Pictures, 1931. Frankenweenie . Dir. Tim Burton. Walt Disney Pictures, 2012. Gaiman, Neil. Coraline . Illus. Dave McKean. 2002. New York: HarperCollins, 2012. Gaiman, Neil. The Graveyard Book . Illus. Dave McKean. New York: HarperCollins, 2008. Godzilla . Dirs. Luigi Cozzi, Ishirô Honda, and Terry O. Morse. AVCO Embassy Pictures, 1977. Goodlad, Lauren M. E., and Michael Bibby, Goth: Undead Subculture

in Adapting Frankenstein
Introduction to the new edition
Johnny Walker

), Sightseers (2012) and A Field in England (2013) are widely celebrated for their ambivalence and visual artistry. Similarly, Alice Lowe, who made a splash with critics on the release of her debut feature, the ‘brilliantly conceived’ Prevenge (2016), 46 is one of several female directors welcomed for ‘bringing new blood’ to the genre across the world. 47 At the other end of the scale are the creatives behind the likes of Lesbian Vampire Killers (Phil Claydon, 2009) and Zombie Undead (Rhys Davies, 2011), who

in Hammer and beyond
Tom Waits’s Bone Machine
Steen Christiansen

), Goth: Undead Subculture , Durham: Duke University Press. Botting, F. (2003), ‘Metaphors and Monsters’, Journal for Cultural Research 7.4: 339–65. Clarke, B. (2010), ‘Information’, in W. J. T. Mitchell and M. B. N

in Monstrous media/spectral subjects
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Folklore and fiction – writing My Swordhand Is Singing
Marcus Sedgwick

minutes brain-storming what more we know about the vampire, and by this I mean again what a lay person’s knowledge of the vampire might cover. Our list of results might look something like this: A: First, as above, the vampire is undead, and therefore immortal B: Vampires drink the blood of the living

in Open Graves, Open Minds
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Marie Mulvey-Roberts

been made of dead human skin’. 17 As Xavier Aldana Reyes explains, ‘The gothic is experienced in the flesh, in its surfaces and crevices, and thus reveals its inherent and universal inscriptability’. 18 Barker’s story is metaphorical of the tales told by the dead through Gothic writing. In Harry Potter and the Chamber of Secrets ( 1998 ) J. K. Rowling’s hero discovers an undead book of surrogate

in Dangerous bodies
Ian Brinton
Michael Grant

alive / From this deep place’).11 This ‘deep place’ is the place of poetry, and Prufrock’s being, conferred by a poem formed of such a place, is that of neither life nor death but is that of the un-dead. Guido da Montefeltro is thus the persona of the poem. It would seem right to ask, in this context, who are ‘we’? Is death possible only when the ‘I’ of the poem has been passed beyond? Or is it that the poem achieves a point that is supernumerary, where that which persists does so beyond parts and wholes? Eliot’s writing engages with a non-rational excess that is out

in Contemporary Olson
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The past in ‘As the Dead Prey Upon Us’
Ben Hickman

’ in a movement that itself enacts a kind of jolting awake, ‘As the Dead Prey Upon Us’ introduces a new term: the vent. This Shelleyan ‘wind’, in the face of ‘the ugly automobile … the heaviness of the old house, the stuffed inner room’, is offered as a force that ‘lifts the sodden nets’: The vent! You must have the vent, or you shall die. Which means never to die, the ghastliness of going, and forever coming back, returning to the instants which were not lived (CP, 391–2) The meaning of the dead is fully described here: they are undead figures of backwardness whose

in Contemporary Olson
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Catherine Constable

sequence prior to the twins’ first transformation in which Persephone helps Neo, Morpheus and Trinity to rescue the Keymaker. The Keymaker’s guards are surprised while watching the film Brides of Frankenstein. Persephone enters the room as the film shows the undead Constable_01_Text.indd 107 4/3/09 14:35:59 108  Adapting philosophy occupant of a coffin throwing off the lid. There is a cut to a medium long shot of the first henchman who sits up, having been lying down on the sofa, followed by a medium shot of the second jumping to his feet. The full movement from

in Adapting philosophy
Michael Goodrum
Philip Smith

undead, removing the figure from its historical, cultural, and political context in colonial Caribbean spaces. In the process, the film engaged with more contemporary concerns, still around race, through the death of the black protagonist, Ben, who having survived the nocturnal zombie assault is killed by a white posse he is preparing to welcome as his rescuers.33 Romero writes that ‘when observers began to write about the film, calling it “important”, it was almost uniformly regarded as such because a black man gets gunned down in the end by a posse of white, redneck

in Printing terror