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Cinema, Horror and the Abominations of Hell
Michael Grant

Beginning from a consideration of some ideas on aesthetics deriving from R. G. Collingwood, this essay sets Dreyer‘s Vampyr beside Fulcis The Beyond. The article then goes on to suggest something of the nature of the horror film, at least as exemplified by these two works, by placing them against the background of certain poetic procedures associated with the post-symbolist poetry of T. S. Eliot.

Film Studies
The rise of the cinematic vampire
Stacey Abbott

horrific truth about humanity. The vampire, therefore, becomes a means of exposing the monstrosity of modern humankind, prepared to commit murder for financial or scientific gain. In contrast, films such as Nosferatu and Vampyr (Carl Dreyer, Denmark, 1932 ) present the vampire genre as a confrontation between premodern and the modern in which modern man becomes engulfed

in Open Graves, Open Minds
Exploring the undead interface
Ivan Phillips

itself. Within a year, Carl Dreyer’s Vampyr: The Strange Adventure of Allan Gray ( 1932 ) – a talkie that almost entirely abstains from talk – would exploit a comparable unease to gloriously poetic effect, affecting an apparent nostalgia for the recently deceased silent film. As Jean and Dale Drum have written, with wonderful understatement: ‘Dreyer’s first sound film was a radical departure from

in Open Graves, Open Minds
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

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Sam George
Bill Hughes

to sap the life of others and who can trace their ancestry through literary transformations to those blood-sucking creatures originally designated vampyr . But our title talks of the Undead, too, though space allows us only a passing glance at other revenants and it is predominantly vampires who inspire the most fascination. So we have chosen creatures who show an affinity with, or allow a constructive

in Open Graves, Open Minds
The rise of Nordic Gothic
Yvonne Leffler
Johan Höglund

qualities of Lagerlöf's 1912 novel Körkarlen ( Thy Soul Shall Bear Witness ) on which the film was based. The first Nordic vampire movie, Carl Theodor Dreyer's Danish expressionistic film Vampyr (1931–1932), is structured as a journey to an isolated island, a settlement beyond time and space at the border of life and death, day and night. 17 During the interwar years, Gothic also surfaced in Modernist writing, for example, in the Swedish Nobel laurate Pär Lagerkvist

in Nordic Gothic
Towards a globalised notion of vampire identity
Aspasia Stephanou

their circulation of various online articles, new websites from other countries are appearing online and elaborating upon vampire ideas derived from the Anglo-American models. For example, the German online vampire group Vampyrs refers to the vampire as ‘shadow’, a concept used by Frater Mordor in his book on real vampirism, Das Buch Noctemeron: Vom Wesen des Vampirismus ( Noctemeron: On the

in Globalgothic
Conrad Aquilina

1819, when Mazeppa was published concurrently with The Vampyr e, Polidori’s ‘usurped’ version of Byron’s 1816 tale. 27 This was falsely attributed to Byron himself, with Goethe going as far to praise it as Byron’s best work to date; the poet decided he had had enough nonsense about vampires and Polidori and denied authorship. Byron, however, secured authorship rights to his Fragment by

in Open Graves, Open Minds
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Fin-de-siècle gothic and early cinema
Paul Foster

, P. (2008), ‘Kingdom of Shadows: Double Exposure in Vampire Films’ , 8 September: nections.vampyr (accessed 8 June 2012). Howells, R. and Negreiros, J. (2012), Visual Culture , 2nd edn, Cambridge: Polity Press

in Monstrous media/spectral subjects
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From Dead of Night to The Quatermass Experiment
Peter Hutchings

-of-view shot – which is repeated throughout Dead of Night – is symptomatic of the whole film’s hesitation before the image, its constant refusal to confirm whether what we the audience are seeing is ‘real’ or an illusion. As argued by Mark Nash in an article on Carl Dreyer’s Vampyr (1932), such a hesitation is a mark of the fantastic, and clearly Dead of Night falls into that category (whereas Hammer horror, with its altogether more solid monsters, does not). 9 However, it will be suggested below that

in Hammer and beyond