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Jared Pappas-Kelley

we find with the destruction of the art object. With death and destruction, we tempt continuity to project this deceased entity forward in the form of a ghost or double, to give it the utility or consistency of things. It is this fixity that the creation of the thing attempts, perhaps compensating for our own change and noticeable dissolution and divergence (the loss of a time in a flat at Waterloo or a lovely front room with moldings in east London), and likewise the loss of this moment that displaces. In this, there is something conceivably undead in the desire

in Solvent form
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
John Robb

itself, with all its brooding imagery, also came with a big dose of British irony. It was a very tongue-in-cheek song, which sounded extremely serious, very heavyweight and quite dark. But the essence of the song, if you peel back the first layer, is very tongue-in-cheek – I sing ‘Bela Lugosi’s dead, undead’ – it’s hilarious. The mistake we made is that we performed it with naive seriousness! That’s what pushed the audience into it as a much more serious thing. The intense intention going

in The art of darkness
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
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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
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