Podcasts about John William Polidori

Send us a textIn this episode, I want to delve into what is generally viewed as the first vampire novel - the VAMPYRE by John William Polidori and published in 1819. This novella marked the beginning of modern vampire fiction and introduced the archetype of the aristocratic vampire through the character of Lord Ruthven. Polidori's work was inspired by a fragment of a story written by Lord Byron during a ghost story competition - and there was quite a bit of disagreement regarding who wrote what!Thank you for experiencing Celebrate Poe.

Soft spoken ASMR reading of The Vampyre by John William Polidori, written in 1819 as part of a short story contest with Lord Byron, Mary Shelley, and Percy Shelley. A crackling fireplace and a spooky atmosphere has been added as background ambience. Listen with headphones for the best experience. The Vampyre weaves a dark and haunting narrative, introducing Lord Ruthven—a charming yet sinister vampire. The story follows Aubrey, a young Englishman who becomes entangled in Ruthven's malevolent orbit. As they travel through Europe, Aubrey uncovers Ruthven's true nature, leading to horror and tragedy. Polidori's tale is filled with gothic intrigue, the struggle between innocence and evil, and the chilling realization that Ruthven's insidious influence may be inescapable. It's a tale that drips with suspense and dread, leaving readers captivated by its eerie allure. Soft spoken ASMR is used to provide listeners with comfort to ease symptoms of insomnia, anxiety, depression, and ptsd. This channel is intended to provide you with a comfortable space to relax and fall asleep. I welcome all comments and suggestions for stories because this channel is meant for you, my darling. Having recently suffered from depression, I promise that I will do everything in my power to make this channel consistent and make our way through these wonderful classic stories. Please reach out to me on my social channels anytime: X/Twitter: @tomebytomeasmr Instagram: @tomebytomeasmr TikTok: @tomebytomeasmr Patreon: TomebyTomeASMR Donations: paypal.me/TomebyTome buymeacoffee.com/tomebytomeasmr This video is intended for sleep. #sleepaid As many of the larger channels noticed first, in November 2023, YouTube rolled out non-optional end-roll ads on all videos. Because this video is intended for you to relax and fall asleep, I'm hoping by adding this hashtag that YouTube becomes aware of the placement of ads on certain video types, like ASMR. Video art and video animation are done by me using CapCut, Canva Pro, Movavi, and Motionleap tools. TAGS: asmr, rain, wind sounds for sleep, unintentional asmr, sleepaid, sleep podcast, sleepcast, bedtime stories for grown ups, read me to sleep, asmr sleep reading, talk to me sleep, dark sleep ambiance, dark sleep ambience, sleep aid for adults, asmr for adults, audiobooks, asmr audiobooks, audible, book on tape, complete audiobook, willy Wonka, Charlie and the chocolate factory, twilight, hp lovecraft, fairy tales, brothers grimm, asmr brothers grimm, asmr lovecraft, lovecraft in asmr, bedtime stories for adults, asmr audiobook reading, female voice, soft spoken female voice, soft spoken whisper female, nightmare before xmas, spooky story, asmr spooky story, sleep scary story, asmr spooky scary story, sweet and creepy dreams, asmr voice reading, banned books, banned books podcast, asmr banned books, gothic literature, hp lovecraft, call of Cthulhu, the alchemist, thomas ligotti, dark horror story, reading dark horror, modern horror

Have you ever heard the origin of Halloween? Perhaps you've heard about the Irish holiday Samhain, but there's more. And all of it converges on one year, 1848. In this episode learn about Mary Shelley, Lord Byron, Washington Irving, Edgar Allen Poe, Thomas Paine, Mary Wollstonecraft, the most powerful volcano ever recorded, Yellow Fever, premature burial, Galvanism, John William Polidori and vampires. You're about to hear the true origin of Halloween. 

The chilling tale of The Vampyre by John William Polidori, one of the earliest works of vampire fiction. This gripping audiobook takes you through the dark and mysterious world of Lord Ruthven, a character that inspired the modern vampire genre. Perfect for fans of gothic literature and classic horror, this narration brings Polidori's eerie and suspenseful story to life.Join us as we explore the origins of the vampire myth in literature, where betrayal, intrigue, and supernatural elements intertwine. Whether you're a gothic horror enthusiast or new to classic horror stories, this audiobook offers an enthralling journey into the shadows of the 19th century.Remember to like, subscribe, and hit the notification bell for more timeless classics and spine-tingling tales!#Audiobook #GothicHorror #ClassicLiterature #VampireFiction #HorrorStories #AudiobookCommunity --- Support this podcast: https://podcasters.spotify.com/pod/show/audiblyaudiobooks/support

Ginevra, estate 1816 - In un piccolo paese svizzero sulle sponde del Lago di Ginevra, il poeta Lord Byron, che per quell'estate aveva preso in affitto la lussuosa Villa Donati, decide di invitare alcuni amici di vecchia data. Non persone qualsiasi, bensì niente di meno che i coniugi Percy e Mary Shelley e lo scrittore e medico John William Polidori. In un pomeriggio particolarmente uggioso, Byron propose ai suoi invitati di scrivere una storia di fantasmi per ingannare il tempo. Fu così, che in seguito ad una notte piena di incubi, nacque dalla penna di Mary Shelley, la storia del Dottor Victor Frankenstein. Ma qual è il segreto dietro l'origine e dietro il successo di questo personaggio? Proviamo a scoprirlo assieme a Giacomo Giaquinto: narratore, fumettista e autore di romanzi. Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon e accedere a contenuti bonus esclusivi tramite questo link: patreon.com/LucePodcast

John William Polidori, an Italian-English physician and writer born in 1795, was a notable figure associated with the Romantic movement. As the eldest son of Gaetano Polidori, an Italian scholar, and Anna Maria Pierce, a governess, Polidori was exposed to intellectual pursuits from a young age. He received his medical degree from the University of Edinburgh in 1815 at the remarkably young age of 19. Polidori's literary talents and connections led him to serve as personal physician to the renowned poet Lord Byron, embarking on a European tour with him in 1816. During their travels, Polidori found himself in the company of other literary luminaries, including Mary Shelley and Percy Bysshe Shelley. It was during this time, at the Villa Diodati by Lake Geneva, that the idea for "The Vampyre" took shape. Inspired by a fragment of a story by Lord Byron, Polidori penned his own tale, which would go on to become the first vampire story in English literature. Originally published in April 1819 in the New Monthly Magazine, "The Vampyre" was falsely attributed to Lord Byron, likely to capitalize on his fame. This misattribution persisted for years, causing confusion over the true authorship of the story. Polidori's "The Vampyre" introduced several key features of the vampire archetype that would influence vampire literature for generations to come. Notably, his portrayal of Lord Ruthven, the titular vampyre, departed from the traditional folkloric depictions of vampires as grotesque creatures. Instead, Polidori's vampyre was an aristocratic figure, seductive and charming, preying on high society. Lord Ruthven's aristocratic allure, coupled with his predatory nature and mysterious aura, set the template for the modern vampire, ushering in a new era of vampire fiction characterized by sophistication and allure. Learn more about your ad choices. Visit megaphone.fm/adchoices

Conjure up your deepest, darkest fear. Now call that fear to life.Gothic is a 1986 British psychological horror film directed by Ken Russell, starring Gabriel Byrne as Lord Byron, Julian Sands as Percy Bysshe Shelley, Natasha Richardson as Mary Shelley, Myriam Cyr as Claire Clairmont (Mary Shelley's stepsister) and Timothy Spall as Dr. John William Polidori.The film is a fictionalized retelling of the Shelleys' visit to Lord Byron in Villa Diodati by Lake Geneva and it concerns their competition to write a horror story, which ultimately led to Mary Shelley writing Frankenstein and John Polidori writing The Vampyre.00:00 Intro12:26 Horror News 32:20 What We've Been Watching52:53 Film Review2:10:01 Name Game2:16:20 Film Rating2:22:36 OutroPodcast - https://podlink.to/horrorhangout​​​Patreon - https://www.patreon.com/horrorhangoutFacebook - https://www.facebook.com/horrorhangoutpodcastTwitter - https://twitter.com/horror_hangout_TikTok - https://www.tiktok.com/@horrorhangoutpodcastInstagram - https://www.instagram.com/horrorhangoutpodcast/Website - http://www.hawkandcleaver.com​​​Ben - https://twitter.com/ben_errington​​​Andy - https://twitter.com/AndyCTWritesHelen - https://www.instagram.com/helen.c.pain/Audio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. Hosted on Acast. See acast.com/privacy for more information.

El escritor y traductor Bernardo Ruiz habla en este episodio sobre su trabajo como narrador, los retos que implicó traducir a Lovecraft y la gran experiencia que fue representar a John William Polidori en la conmemoración de aquel encuentro de singulares personajes en Villa Diodati, en el que se concebirían dos grandes obras: El vampiro y Frankenstein. No te pierdas esta conversación que cierra con el cuento “Lotería”, del propio Bernardo Ruiz.Síguenos en nuestras redes sociales y no te olvides de compartir este episodio.

durée : 00:57:15 - Samedi fiction - par : Blandine Masson - Eté 1816. Participant à un concours d'histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu'alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

durée : 00:57:15 - Samedi fiction - par : Blandine Masson - Eté 1816. Participant à un concours d'histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu'alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

durée : 00:57:15 - Samedi fiction - par : Blandine Masson - Eté 1816. Participant à un concours d'histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu'alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

This week! A literature episode. The hosts are back on Ken Russell with his adaptation of the Mary Shelley adaptation, Gothic (1986). Drusilla watched Death Game (1977) and they talk all about Colleen Camp. She also watched Ken Russell's Tommy and Listzomania. They discuss Ken Russell's unproduced script for Dracula. Josh comes in with book recs. The Icelandic semi-adaptation of Dracula called The Powers of Darkness and Riley Sager's The Only One Left. Also mentioned: the tragic death of Julian Sands, the Romantic period, the year with no summer, Cabaret, A Nightmare on Elm Street, Altered States, Kenneth Branagh's Frankenstein, Penny Dreadful, Suburbia, different Shakespeare adaptations, Dexter Fletcher, Derek Jarman, and Sting, From Wiki: “Gothic is a 1986 British psychological horror film directed by Ken Russell, starring Gabriel Byrne as Lord Byron, Julian Sands as Percy Bysshe Shelley, Natasha Richardson as Mary Shelley, Myriam Cyr as Claire Clairmont (Mary Shelley's stepsister) and Timothy Spall as Dr. John William Polidori. It features a soundtrack by Thomas Dolby, and marks Richardson's and Cyr's film debut.”NEXT WEEK: The Sentinel (1977) Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkelJoshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel 

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

... There was no colour upon her cheek, not even upon her lip; yet there was a stillness about her face that seemed almost as attaching as the life that once dwelt there:—upon her neck and breast was blood, and upon her throat were the marks of teeth having opened the vein:—to this the men pointed, crying, simultaneously struck with horror, "A Vampyre! a Vampyre!" "The Vampyre" by John William PolidoriFirst published in 1819Recited by Eric R. Hill

Boooooo . . . Happy Halloween sleepyheads. Tonight, a snoozy spooky reading of "The Vampyre" by John William Polidori zzz This episode is proudly sponsored by Betterhelp zzz – for 10% off your first month, go to betterhelp.com/sleepy

On a tendance à l'oublier, mais avant de voir ses licences adaptées à tour de bras au cinéma, Marvel Comics a longtemps appliqué l'exacte recette inverse en adaptant sur le papier les films du moment et autres classiques de la science-fiction ou du fantastique. Et parmi les nombreuses séries, parfois éphémères, qui verront le jour grâce à cette pratique, il en est une que les mordus de comic books n'ont pas oublié ! BEWARE ! BEWARE !Le vampire est sans conteste l'une des figures les plus populaires de la fiction moderne. Des jeux de rôles se déroulant dans le Monde des Ténèbres, en passant par Castlevania, les romans d'Anne Rice, Buffy contre les Vampires, ou même Twilight, on pourrait littéralement passer la journée à énumérer les œuvres de la Pop Culture qui tournent autour du mythe de cette créature revenue d'entre les morts pour sucer le sang des vivants ! Le bestiaire folklorique et fantastique a toujours été une source d'inspiration pour les auteurs et, bien évidemment, le vampire n'y fait pas exception. Créature crépusculaire intimement liée aux croyances religieuses, le vampire moderne est une sorte de pot-pourri d'influences qui inspire crainte et fascination, pouvant se révéler tout aussi sournois que bestial, tout aussi séduisant qu'effrayant. Si des entités assimilables à des vampires existent dans pratiquement tous les folklores de la planète, c'est surtout à partir du dix-huitième siècle que l'image du vampire telle que nous la connaissons se propage dans la culture populaire. Se nourrissant principalement des légendes d'Europe Centrale, puis de récits fantastiques comme Le Vampire de John William Polidori, et bien entendu Dracula de Bram Stocker, le cliché du gentleman encapé sortant de son cercueil à la nuit tombée pour s'abreuver du sang de jeunes vierges sans défense n'a depuis lors plus jamais quitté l'imaginaire collectif. Pour beaucoup d'entre nous, c'est justement Dracula, paru en 1897, qui reste la référence en matière d'histoire de vampire, même s'il est très probable que vous connaissiez mieux cette œuvre de Bram Stocker à travers son nombre incalculable d'adaptations que dans sa forme originale de roman. Et si Dracula a effectivement été adapté maintes fois au cinéma, il a bien plus souvent été plagié, transformé et détourné, que ce soit par des cinéastes peu scrupuleux voulant contourner les droits d'auteurs, ou par divers cartoons parodiant les gimmicks du Prince des Ténèbres. Mais alors, comment le personnage de Dracula a fini par atterrir dans les pages d'une publication Marvel Comics ? Et bien disons qu'il s'agit de l'addition d'un heureux concours de circonstances et d'une bonne dose d'opportunisme. J'ai déjà eu l'occasion d'en parler : à partir du milieu des années 1950, la censure s'abat sur la bande dessinée américaine par le biais du Comics Code Authority. Outre bon nombre de règles concernant le sexe, la nudité et la violence, le code interdit également les vampires, les loups-garous et autres morts-vivants qui pourraient donner des cauchemars aux enfants. Seulement, au début des années 1970, l'ambiance est plus détendue, les États-Unis changent, et le Code va connaître quelques assouplissements, notamment en ce qui concerne l'horreur. Les loups-garous et les vampires obtiennent de nouveau le droit d'apparaître dans les  histoires, à condition d'être traitées de façon classique, tels qu'ils peuvent être représentés dans les romans de la littérature fantastique, qui sont alors considérés comme une forme de caution. Une règle assez absurde que les éditeurs vont s'empresser de tourner à leur avantage, à défaut de pouvoir ouvertement la contourner. Ainsi, à peine quelques mois après cette mise à jour du Code, Morbius apparaît dans les pages du cent-unième numéro de The Amazing Spider-Man. Surnommé “le Vampire-Vivant”, le personnage est déjà une forme de pied-de-nez au Comics Code, et son statut assez flou de super-vilain costumé victime de ses propres expériences lui permettra de passer assez facilement entre les mailles du filet de la censure. Pour continuer à alimenter cette nouvelle vague horrifique permise par le relâchement des censeurs, Marvel ne va pas aller chercher bien loin. Puisque le Code réclame un traitement “classique” des monstres de fiction, pourquoi ne pas tout simplement aller chercher Dracula, le monstre de Frankenstein et le Loup-Garou, que tout le monde connaît grâce au cinéma, et qui ont l'avantage d'être tombés dans le domaine public quelques années plus tôt ? Un choix doublement économique, puisqu'en plus d'éviter un fastidieux processus de création pour donner vie à de nouveaux personnages, il évite également à Marvel d'avoir trop d'efforts à faire pour les promouvoir. À l'époque, les films de la Hammer avec pour vedette Dracula ou la créature de Frankenstein sont encore largement plébiscités par le public et ont même l'avantage d'adopter le fameux style d'horreur gothique attendu par le Comics Code Authority, pratiquement une aubaine pour la Maison des Idées qui va profiter de tout ça sans que ça ne lui coûte un centime en droits d'adaptation. Si aujourd'hui, je me concentre sur la série Tomb of Dracula, il faut quand même souligner que l'éditeur va rapidement essorer le filon, puisqu'en seulement quelques mois, on va voir débarquer dans son catalogue le loup-garou Jack Russel, d'abord dans Marvel Spotlight, puis dans sa propre série Werewolf by Night, le monstre de Frankenstein, puis The Living Mummy dans les pages de Supernatural Thrillers, et enfin la Légion des Monstres, une équipe composée de plusieurs de ces créatures. Finalement, ce regain d'intérêt pour l'horreur dans les comic books aura permis à Marvel d'ajouter à moindre frais à son bestiaire une galerie de personnages exploitables à l'infini et dont les univers étendus respectifs auront un véritable impact sur le développement de son macrocosme : sans Werewolf by Night, pas de Moon Knight, par exemple.  RAINING BLOOD Le premier numéro de Tomb of Dracula paraît à la fin de l'année 1971. Il est écrit par Gerry Conway et dessiné par Gene Colan qui œuvrera sur l'intégralité des 70 numéros, ce qui est assez rare pour être signalé. La composition de l'équipe créative variera légèrement durant les premiers mois de parution, voyant Archie Goodwin, puis Gardner Fox s'occuper de l'écriture, avant de se stabiliser au septième épisode avec l'arrivée du scénariste Marv Wolfman Parmi les autres acteurs majeurs de Tomb of Dracula, on pourra citer l'éditeur Roy Thomas et l'encreur Tom Palmer, dont les noms restent fortement liés au succès de la série. Dans le premier épisode, on découvre Frank Drake, qui hérite d'une maison de famille assez particulière située en Transylvanie : le château du Comte Dracula en personne ! En effet, Frank est un descendant de Dracula et il va avoir la joie et l'honneur de rencontrer son aïeul, ramené à la vie accidentellement après un long sommeil. Le vampire s'empresse de boire le sang de Jeanie, la petite amie de Frank, et dès le numéro suivant, ce dernier n'aura pas d'autre choix que de tuer lui-même sa bien aimée transformée en créature de la nuit par la morsure du Comte. Des évènements dramatiques qui conduisent Frank à se lancer à la poursuite de son ancêtre suceur de sang. Une quête dans laquelle il sera bientôt rejoint par Rachel Van Helsing, elle-même descendante du célèbre chasseur de vampires, et par Blade, qui fait sa première apparition dans le dixième épisode de Tomb of Dracula. L'univers du Dracula de Marvel s'étoffe rapidement, puisque le Comte trouvera des ennemis récurrents et même quelques alliés au fil de ses aventures, avant de devenir la vedette d'autres publications : d'abord avec le magazine en noir et blanc Dracula Lives ! en 1973, dont le format échappant au Comics Code Authority permettait aux auteurs d'aller plus loin dans l'horreur et la suggestivité, puis dans Giant-Size Chillers, rapidement renommé Giant-Size Dracula, dans lesquels Roy Thomas, Gene Colan et une longue liste d'auteurs enrichissent le background du vampire en prenant plus ou moins de liberté vis-à-vis du mythe original. En France, Tomb of Dracula a été publié chez Aredit, au même titre que Werewolf by Night ou Frankenstein, aux côtés d'autres personnages comme Swamp Thing et The Demon de Jack Kirby, dans la collection Comics Pocket. Des périodiques estampillés “Bandes dessinées pour adultes” qui, entre censure et redécoupage pour faire s'harmoniser les planches originales au petit format des revues, ne faisaient pas toujours honneur au matériau d'origine, il faut l'avouer.  L'une des particularités de la version de Dracula à laquelle nous nous intéressons aujourd'hui est d'avoir été complètement intégrée à l'univers Marvel, obtenant une place à part entière au sein de la Maison des Idées. Sans surprise, le Prince des Ténèbres va donc croiser et affronter Jack Russell, alias Werewolf by Night, mais aussi toute la galerie des héros Marvel dont l'exotisme tranche un peu plus avec sa Transylvanie natale, de l'Homme Araignée dans le premier numéro de Giant-Size Spider-Man en 1974 au Silver Surfer dans le cinquantième numéro de Tomb of Dracula… L'arrêt de la série en 1979, après soixante-dix numéros, est de courte durée. Seulement quelques semaines plus tard, Tomb of Dracula revient dans un format magazine sous le label Curtis de Marvel, échappant encore une fois à la censure. Le personnage est ensuite régulièrement utilisé par Marvel, comme dans les pages de Thor et Docteur Strange, puis en 1991 sous le label Epic, et jusqu'à récemment dans les pages de Deadpool ou de certaines séries mutantes de la Maison des Idées, dans une version correspondant mieux à l'air du temps. Évidemment, je ne survole ici que les utilisations de Dracula par Marvel, le Prince des Ténèbres ayant été largement exploité par divers éditeurs au fil des années dans des productions plus ou moins romanesques, comme le lunaire Dracula versus Zorro chez Topps en 1993, ou Superman vs Dracula en 2002 chez DC Comics… Plus curieux encore, en 1980, Tomb of Dracula sera adapté en film d'animation pour la télévision par la société japonaise Toei. Un long-métrage de quatre-vingt dix minutes qui s'inspire des grandes lignes de la série de comic books et qui ne présente pas d'autre intérêt que d'être un honnête OVNI parmi les nombreuses adaptations tirées des publications Marvel Comics. Si l'intrigue de Tomb of Dracula a tendance à se répéter et que certains retournements de situation, tels que les multiples résurrections de Dracula, sont un peu tirés par la cape, l'un des principaux attraits de la série reste incontestablement l'évolution du personnage titre, à la fois antagoniste et élément central des histoires racontées. Après un premier arc très classique, fidèle aux clichés des histoires de vampires telles que l'on peut les voir au cinéma, on sent que Wolfman et Colan se réorientent peu à peu vers une recette plus proche des productions habituelles de Marvel. Dracula devient, tant bien que mal, le héros de sa propre histoire et doit faire face à des menaces qui remettent en cause son statut de prédateur ultime, tout en continuant à échapper aux chasseurs de vampires qui en ont après lui depuis des siècles. Si on ne s'attache pas vraiment à Dracula, qui reste prêt à tout, y compris à tuer, pour arriver à ses fins, on vibre tout de même au rythme de ses aventures. Un programme riche en évènements improbables qui n'accuse pourtant que très peu le poids des années, sûrement parce que l'ambiance originale de la série, nourrie des classiques horrifiques du dix-neuvième siècle, entretient la crédibilité d'un univers fantastique hors du temps pouvant se permettre de prendre quelques libertés en matière de cohérence sans jamais tomber dans le ridicule. Finalement, cette adaptation à la sauce Marvel rejoint sans difficulté la très longue liste des œuvres exploitant l'inépuisable filon Dracula tous supports confondus, en y ajoutant un aspect sériel et un point de vue quasi super-héroïque typique de la bande dessinée américaine. Tomb of Dracula n'est clairement pas le premier comic book auquel on pense, et encore moins la première série Marvel qui vient à l'esprit, mais elle conserve un véritable intérêt patrimonial tant dans sa conception que dans son contenu. C'est pour cela que je ne peux que vous recommander la lecture des omnibus parus chez Panini Comics, volumes imposants et de grande qualité, dont l'existence est à saluer tant ils jouent un rôle dans la représentation de la diversité de la bande dessinée américaine sur le marché français. Et si vous cherchez un point d'accès à moindre coût, le volume de la collection Marvel Décennies consacré aux années 1970 et à la Légion des Monstres vous permettra d'appréhender plus globalement le traitement de l'horreur chez Marvel à l'époque. N'hésitez pas à partager cet épisode sur les réseaux sociaux s'il vous a plu ! Recevez mes articles, podcasts et vidéos directement dans votre boîte mail sans intermédiaire ni publicité en vous abonnant gratuitement ! Get full access to CHRIS - POP CULTURE & COMICS at chrisstup.substack.com/subscribe

The Vampyre. (1819) John William Polidori. This is the first published modern vampire story, it was written by John William Polidori (1795–1821), English writer and physician, although it was originally attributed to Lord Byron, later both Byron and Polidori affirmed that the story is Polidori's. It was published in The New Monthly Magazine (a British...

John Polidori almost fell into obscurity as a writer, when in fact, he was the father of vampire fiction as we know it. Here I give you his story, why he was overshadowed at times, his untimely death, and excerpts from his diary. You'll recognize some of this story, and the other players in said story.   The following links will take you to free reads of his diary, and his infamous tale... The Vampyre; a Tale by John William Polidori - Free Ebook (gutenberg.org) “The Vampyre” | The Vampyre | John Polidori | Lit2Go ETC (usf.edu) The Diary of Dr. John William Polidori, By John William Polidori—A Project Gutenberg eBook  

John Polidori almost fell into obscurity as a writer, when in fact, he was the father of vampire fiction as we know it. Here I give you his story, why he was overshadowed at times, his untimely death, and excerpts from his diary. You'll recognize some of this story, and the other players in said story. The following links will take you to free reads of his diary, and his infamous tale... The Vampyre; a Tale by John William Polidori - Free Ebook (gutenberg.org) “The Vampyre” | The Vampyre | John Polidori | Lit2Go ETC (usf.edu) The Diary of Dr. John William Polidori, By John William Polidori—A Project Gutenberg eBook --- Support this podcast: https://podcasters.spotify.com/pod/show/sroit/support

从1922年茂瑙的《诺斯费拉图》到近期的动画电影《精灵旅社》，吸血鬼题材电影已经有了近百年的历史，他随着经典好莱坞的怪兽片崛起及衰退，随着电视普及进入B级片制作领域，又在新好莱坞的大制片厂模式的召唤下，重获生机，似乎这个在前期过于程式化的电影类型，总能不断的被挖掘出新的生命力。究其背后的原因，无论是一再被演绎的「德古拉伯爵」，还是不断被拓展的精神内核，吸血鬼电影无不在透露着各个时代下，社会文化及观众群体性的心理恐惧及焦虑。本期节目，我们将聊一聊吸血鬼电影的百年变迁史，并着重挑出了一些重要的片单，供各位听友选择。一、 资料补充：1. 文学作品：a)《The Vampyre》--约翰·威廉·波利多利（John William Polidori）b)《德古拉》-- 布拉姆·斯托克（Bram Stoker）c)《夜访吸血鬼》--安妮·莱丝（Anne Rice）2.电影公司：美国环球影片公司、英国汗默电影公司3.重要导演：F.W.茂瑙（F.W. Murnau）、托德·布朗宁（Tod Browning）、泰伦斯·费希（Terence Fisher）、弗朗西斯·福特·科波拉（Francis Ford Coppola）尼尔·乔丹（Neil Jordan）4.经典银幕面孔：贝拉·卢戈西（Bela Lugosi）、克里斯托弗·李（Christopher Lee）二、吸血鬼电影片单：1、诺斯费拉图Nosferatu德国1922/19792、德古拉Dracula美国19313、恐怖德古拉Horror of Dracula英国19584、天师捉妖The Fearless Vampire Killers 美国/英国 19675、诺斯费拉图：夜晚的幽灵Nosferatu: Phantom der Nacht法国/西德19796、惊情400年 Dracula美国19927、夜访吸血鬼/吸血鬼女王Interview with the Vampire: The Vampire Chronicles / Queen of the Damned美国1992/20028、杀出个黎明From Dusk Till Dawn美国19969、暮光之城系列Twilight美国2008-201210、生人勿近Let The Right One In/Let Me In瑞典/美国 2008/201011、蝙蝠Thirst韩国200912、精灵旅社Hotel Transylvania 美国2012【本期音乐】片头曲：Jason Walker; Molly Reed - Down垫乐：Géza Anda; Clara Haskil - II. Adagio ovvero LargoGéza Anda; Clara Haskil - III. Fuga. VivaceHerbert von Karajan; Walter Gieseking - Piano Concerto No.4, Op.58 1. Allegro moderatoHerbert von Karajan; Walter Gieseking - Piano Concerto No.4, Op.58 3. Rondo (Vivace)【后期制作】LEO【互动方式】加w”li1254007708”拉你加入聊养院

Ahora puedes apoyar a ELDT con un único pago y la cantidad que prefieras: paypal.me/LibroTobias El relato causó gran impacto en la sociedad de la época, y se realizaron numerosas ediciones y traducciones. Incluso se hicieron varias versiones del mismo personaje, atribuidas falsamente muchas de ellas a Charles Nodier. La narración de Polidori influyó mucho en la literatura posterior dedicada al tema vampírico a través de la figura de Lord Ruthven, que serviría de inspiración para muchas novelas y relatos de vampiros posteriores, como Carmilla (1872) de Sheridan Le Fanu, El vampiro (1851) de Alejandro Dumas (autor éste también de La dama pálida y que se inspiró en la figura de Lord Ruthven para su novela El conde de Montecristo) y Berenice de Edgar Allan Poe, al igual que influyeron en Gogol y en Tolstoi (La familia del vurdalak) y, sobre todo, en Drácula de Bram Stoker (1897). Canciones: - “The Last Vampire” de Peter Gundry - “The Vampire Masquerade” de Peter Gundry Narración, edición y montaje: Asier Menéndez Marín Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Rediffusion de l'émission diffusée sur Witches Radio : https://witchesradio.fr avec la participation de Ludovic Richer de la Web TV Arcana les mystères du Monde : https://www.youtube.com/channel/UCNpjt1HR25fpXmb-H28yajQ ▶ Soutenir le podcast sur Tipeee : https://www.tipeee.com/arcana-mysteres-du-monde   ▶ Liste des Accademia : http://arcanatv.fr/liste-des-accademia  

We've all heard the story of "Frankenstein's Monster." A bat shit crazy scientist wants to reanimate dead tissue and basically create a fucking zombie baby… BECAUSE THAT'S HOW YOU GET FUCKING ZOMBIES! Anyway, Dr. Frankenstein and his trusty assistant, Igor, set off to bring a bunch of random, dead body parts together, throw some lightning on the bugger and bring this new, puzzle piece of a quasi-human back to "life." At first, the reanimated corpse seems somewhat ordinary, but then flips his shit and starts terrorizing and doing what I can only imagine REANIMATED ZOMBIES FUCKING DO!    Mary Shelley was born Mary Wollstonecraft Godwin in Somers Town, London, in 1797. She was the second child of the feminist philosopher, educator, and writer Mary Wollstonecraft and the first child of the philosopher, novelist, and journalist William Godwin.  So, she was brought into this world by some smart fucking people. Mary's mother died of puerperal fever shortly after Mary was born. Puerperal fever is an infectious, sometimes fatal, disease of childbirth; until the mid-19th century, this dreaded, then-mysterious illness could sweep through a hospital maternity ward and kill most new mothers. Today strict aseptic hospital techniques have made the condition uncommon in most parts of the world, except in unusual circumstances such as illegally induced abortion. Her father, William, was left to bring up Mary and her older half-sister, Fanny Imlay, Mary's mother's child by the American speculator Gilbert Imlay. A year after her mother's death, Godwin published his Memoirs of the Author of A Vindication of the Rights of Woman, which he intended as a sincere and compassionate tribute. However, the Memoirs revealed Mary's mother's affairs and her illegitimate child. In that period, they were seen as shocking. Mary read these memoirs and her mother's books and was brought up to cherish her mother's memory. Mary's earliest years were happy, judging from the letters of William's housekeeper and nurse, Louisa Jones. But Godwin was often deeply in debt; feeling that he could not raise Mary and Fanny himself, he looked for a second wife. In December 1801, he married Mary Jane Clairmont, a well-educated woman with two young children—Charles and Claire SO MANY MARY'S! Sorry folks. Most of her father's friends disliked his new wife, describing her as a straight fucking bitch. Ok, not really, but they didn't like her. However, William was devoted to her, and the marriage worked. Mary, however, came to hate that bitch. William's 19th-century biographer Charles Kegan Paul later suggested that Mrs. Godwin had favored her own children over Williams. So, how awesome is it that he had a biographer? That's so badass.  Together, Mary's father and his new bride started a publishing firm called M. J. Godwin, which sold children's books and stationery, maps, and games. However, the business wasn't making any loot, and her father was forced to borrow butt loads of money to keep it going. He kept borrowing money to pay off earlier loans, just adding to his problems. By 1809, William's business was close to closing up shop, and he was "near to despair." Mary's father was saved from debtor's prison by devotees such as Francis Place, who lent him additional money. So, debtor's prison is pretty much EXACTLY what it sounds like. If you couldn't pay your debts, they threw your ass in jail. Unlike today where they just FUCK UP YOUR CREDIT! THANKS, COLUMBIA HOUSE!!!  Though Mary received little education, her father tutored her in many subjects. He often took the children on educational trips. They had access to his library and the many intelligent mofos who visited him, including the Romantic poet Samuel Taylor Coleridge and the former vice-president of the United States Aaron Burr. You know, that dude that shot and killed his POLITICAL opponent, Alexander Hamilton, in a fucking duel! Ah… I was born in the wrong century.   Mary's father admitted he was not educating the children according to Mary's mother's philosophy as outlined in works such as A Vindication of the Rights of Woman. However, Mary still received an unusual and advanced education for a girl of the time. She had a governess, a daily tutor, and read many of her father's children's Roman and Greek history books. For six months in 1811, she also attended a boarding school in Ramsgate, England. Her father described her at age 15 as "singularly bold, somewhat imperious, and active of mind. Her desire of knowledge is great, and her perseverance in everything she undertakes almost invincible." My father didn't know how to spell my name until I was twelve.  In June of 1812, Mary's father sent her to stay with the family of the radical William Baxter, near Dundee, Scotland. In a letter to Baxter, he wrote, "I am anxious that she should be brought up ... like a philosopher, even like a cynic." Scholars have speculated that she may have been sent away for her health, remove her from the seamy side of the business, or introduce her to radical politics. However, Mary loved the spacious surroundings of Baxter's house and with his four daughters, and she returned north in the summer of 1813 to hang out for 10 months. In the 1831 introduction to Frankenstein, she recalled: "I wrote then—but in a most common-place style. It was beneath the trees of the grounds belonging to our house, or on the bleak sides of the woodless mountains near, that my true compositions, the airy flights of my imagination, were born and fostered."   Mary Godwin may have first met the radical poet-philosopher Percy Bysshe Shelley in between her two stays in Scotland. When she returned home for a second time on 30 March 1814, Percy Shelley became estranged from his wife and regularly visited Mary's father, William Godwin, whom he had agreed to bail out of debt. Percy Shelley's radicalism, particularly his economic views, alienated him from his wealthy aristocratic family. They wanted him to be a high, upstanding snoot and follow traditional models of the landed aristocracy. He tried to donate large amounts of the family's money to projects meant to help the poor and disadvantaged. Percy Shelley, therefore, had a problem gaining access to capital until he inherited his estate because his family did not want him wasting it on projects of "political justice." After several months of promises, Shelley announced that he could not or would not pay off all of Godwin's debts. Godwin was angry and felt betrayed and whooped his fuckin ass! Yeah! Ok, not really. He was just super pissed. Mary and Percy began hookin' up on the down-low at her mother Mary Wollstonecraft's grave in the churchyard of St Pancras Old Church, and they fell in love—she was 16, and he was 21. Creepy and super fucking gross.   On 26 June 1814, Shelley and Godwin declared their love for one another as Shelley announced he could not hide his "ardent passion,." This led her in a "sublime and rapturous moment" to say she felt the same way; on either that day or the next, Godwin lost her virginity to Shelley, which tradition claims happened in the churchyard. So, the grown-ass 21-year-old man statutorily raped the 16-year-old daughter of the man he idolized and dicked over. In a graveyard. My god, how things have changed...GROSS! Godwin described herself as attracted to Shelley's "wild, intellectual, unearthly looks." Smart but ugly. Got it. To Mary's dismay, her father disapproved and tried to thwart the relationship and salvage his daughter's "spotless fame." No! You don't say! Dad wasn't into his TEENAGE DAUGHTER BANGING A MAN IN THE GRAVEYARD!?! Mary's father learned of Shelley's inability to pay off the father's debts at about the same time. Oof. He found out after he diddled her. Mary, who later wrote of "my excessive and romantic attachment to my father," was confused. Um… what? She saw Percy Shelley as an embodiment of her parents' liberal and reformist ideas of the 1790s, particularly Godwin's view that marriage was a repressive monopoly, which he had argued in his 1793 edition of Political Justice but later retracted. On 28 July 1814, the couple eloped and secretly left for France, taking Mary's stepsister, Claire Clairmont, with them.  After convincing Mary's mother, who took off after them to Calais, that they did not wish to return, the trio traveled to Paris, and then, by donkey, mule, carriage, and foot, through France, recently ravaged by war, all the way to Switzerland. "It was acting in a novel, being an incarnate romance," Mary Shelley recalled in 1826. Godwin wrote about France in 1814: "The distress of the inhabitants, whose houses had been burned, their cattle killed and all their wealth destroyed, has given a sting to my detestation of war...". As they traveled, Mary and Percy read works by Mary Wollstonecraft and others, kept a joint journal, and continued their own writing. Finally, at Lucerne, lack of money forced the three to turn back. Instead, they traveled down the Rhine and by land to the Dutch port of Maassluis, arriving at Gravesend, Kent, on 13 September 1814. The situation awaiting Mary Godwin in England was packed with bullshit, some of which she had not expected. Either before or during their journey, she had become pregnant. She and Percy now found themselves penniless, and, to Mary's stupid ass surprise, her father refused to have anything to do with her. The couple moved with Claire into lodgings at Somers Town, and later, Nelson Square. They kept doing their thing, reading, and writing and entertained Percy Shelley's friends. Percy Shelley would often leave home for short periods to dodge bill collectors, and the couple's heartbroken letters would reveal their pain while he was away. Pregnant and often sick, Mary Godwin had to hear of Percy's joy at the birth of his son by Harriet Shelley in late 1814 due to his constant escapades with Claire Clairmont. Supposedly, Shelley and Clairmont were almost certainly lovers, which caused Mary to be rightfully jealous. And yes, Claire was Mary's cousin. Percy was a friggin' creep. Percy pissed off Mary when he suggested that they both take the plunge into a stream naked during a walk in the French countryside. This offended her due to her principles, and she was like, "Oh, hell nah, sahn!" and started taking off her earrings in a rage. Or something like that. She was partly consoled by the visits of Hogg, whom she disliked at first but soon considered a close friend. Percy Shelley seems to have wanted Mary and Hogg to become lovers; Mary did not dismiss the idea since she believed in free love in principle. She was a hippie before being a hippie was cool. Percy probably just wanted to not feel guilty for hooking up with her cousin. Creep. In reality, however, she loved only Percy and seemed to have gone no further than flirting with Hogg. On 22 February 1815, she gave birth to a two-months premature baby girl, who was not expected to survive. On 6 March, she wrote to Hogg: "My dearest Hogg, my baby is dead—will you come to see me as soon as you can. I wish to see you—It was perfectly well when I went to bed—I awoke in the night to give it suck it appeared to be sleeping so quietly that I would not awake it. It was dead then, but we did not find that out till morning—from its appearance it evidently died of convulsions—Will you come—you are so calm a creature & Shelley (Percy) is afraid of a fever from the milk—for I am no longer a mother now." The loss of her child brought about acute depression in Mary. She was haunted by visions of the baby, but she conceived again and had recovered by the summer. With a revival in Percy's finances after the death of his grandfather, Sir Bysshe Shelley, the couple holidayed in Torquay and then rented a two-story cottage at Bishopsgate, on the edge of Windsor Great Park. Unfortunately, little is known about this period in Mary Godwin's life since her journal from May 1815 to July 1816 was lost. At Bishopsgate, Percy wrote his poem Alastor or The Spirit of Solitude; and on 24 January 1816, Mary gave birth to a second child, William, named after her father and soon nicknamed "Willmouse." In her novel The Last Man, she later imagined Windsor as a Garden of Eden. In May 1816, Mary, Percy, and their son traveled to Geneva with Claire Clairmont. They planned to spend the summer with the poet Lord Byron, whose recent affair with Claire had left her pregnant. Claire sounds like a bit of a trollop. No judging, just making an observation. The party arrived in Geneva on 14 May 1816, where Mary called herself "Mrs Shelley." Byron joined them on 25 May with his young physician, John William Polidori, and rented the Villa Diodati, close to Lake Geneva at the village of Cologny; Percy rented a smaller building called Maison Chapuis on the waterfront nearby. They spent their time writing, boating on the lake, and talking late into the night. "It proved a wet, ungenial summer," Mary Shelley remembered in 1831, "and incessant rain often confined us for days to the house." Sitting around a log fire at Byron's villa, the company amused themselves with German ghost stories called Fantasmagoriana, which prompted Byron to propose that they "each write a ghost story." Unable to think up an account, young Mary became flustered: "Have you thought of a story? I was asked each morning, and each morning I was forced to reply with a mortifying negative." Finally, one mid-June evening, the discussions turned to the principle of life. "Perhaps a corpse would be reanimated," Mary noted, "galvanism had given token of such things." Galvanism is a term invented by the late 18th-century physicist and chemist Alessandro Volta to refer to the generation of electric current by chemical action. The word also came to refer to the discoveries of its namesake, Luigi Galvani, specifically the generation of electric current within biological organisms and the contraction/convulsion of natural muscle tissue upon contact with electric current. While Volta theorized and later demonstrated the phenomenon of his "Galvanism" to be replicable with otherwise inert materials, Galvani thought his discovery to confirm the existence of "animal electricity," a vital force that gave life to organic matter. We'll talk a little more about Galvani and a murderer named George Foster toward the end of the episode. It was after midnight before they retired, and she was unable to sleep, mainly because she became overwhelmed by her imagination as she kept thinking about the grim terrors of her "waking dream," her ghost story: "I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world." She began writing what she assumed would be a short, profound story. With Percy Shelley's encouragement, she turned her little idea into her first novel, Frankenstein; or, The Modern Prometheus, published in 1818. She later described that time in Switzerland as "when I first stepped out from childhood into life." The story of the writing of Frankenstein has been fictionalized repeatedly, and it helped form the basis for several films. Here's a cool little side note: In September 2011, the astronomer Donald Olson, after a visit to the Lake Geneva villa the previous year and inspecting data about the motion of the moon and stars, concluded that her waking dream took place "between 2 am and 3 am" 16 June 1816, several days after the initial idea by Lord Byron that they each write their ghost stories. Shelley and her husband collaborated on the story, but the extent of Percy's contribution to the novel is unknown and has been argued over by readers and critics forever. There are differences in the 1818, 1823, and 1831 versions. Mary Shelley wrote, "I certainly did not owe the suggestion of one incident, nor scarcely of one train of feeling, to my husband, and yet but for his incitement, it would never have taken the form in which it was presented to the world." She wrote that the preface to the first edition was her husband's work "as far as I can recollect." James Rieger concluded Percy's "assistance at every point in the book's manufacture was so extensive that one hardly knows whether to regard him as editor or minor collaborator." At the same time, Anne K. Mellor later argued Percy only "made many technical corrections and several times clarified the narrative and thematic continuity of the text." Charles E. Robinson, the editor of a facsimile edition of the Frankenstein manuscripts, concluded that Percy's contributions to the book "were no more than what most publishers' editors have provided new (or old) authors or, in fact, what colleagues have provided to each other after reading each other's works in progress." So, eat one, Percy! Just kidding. In 1840 and 1842, Mary and her son traveled together all over the continent. Mary recorded these trips in Rambles in Germany and Italy in 1840, 1842, and 1843. In 1844, Sir Timothy Shelley finally died at the age of ninety, "falling from the stalk like an overblown flower," Mary put it. For the first time in her life, she and her son were financially independent, though the remaining estate wasn't worth as much as they had thought. In the mid-1840s, Mary Shelley found herself in the crosshairs of three separate blackmailing sons of bitches. First, in 1845, an Italian political exile called Gatteschi, whom she had met in Paris, threatened to publish letters she had sent him. Scandalous! However, a friend of her son's bribed a police chief into seizing Gatteschi's papers, including the letters, which were then destroyed. Vaffanculo, Gatteschi! Shortly afterward, Mary Shelley bought some letters written by herself and Percy Shelley from a man calling himself G. Byron and posing as the illegitimate son of the late Lord Byron. Also, in 1845, Percy Shelley's cousin Thomas Medwin approached her, claiming to have written a damaging biography of Percy Shelley. He said he would suppress it in return for £250, but Mary told him to eat a big ole bag of dicks and jog on! In 1848, Percy Florence married Jane Gibson St John. The marriage proved a happy one, and Mary liked Jane. Mary lived with her son and daughter-in-law at Field Place, Sussex, the Shelleys' ancestral home, and at Chester Square, London, and vacationed with them, as well. Mary's last years were blighted by illness. From 1839, she suffered from headaches and bouts of paralysis in parts of her body, which sometimes prevented her from reading and writing, obviously two of her favorite things. Then, on 1 February 1851, at Chester Square, Mary Shelly died at fifty-three from what her doctor suspected was a brain tumor. According to Jane Shelley, Mary had asked to be buried with her mother and father. Still, looking at the graveyard at St Pancras and calling it "dreadful," Percy and Jane chose to bury her instead at St Peter's Church in Bournemouth, near their new home at Boscombe. On the first anniversary of Mary's death, the Shelleys opened her box-desk. Inside they found locks of her dead children's hair, a notebook she had shared with Percy Bysshe Shelley, and a copy of his poem Adonaïs with one page folded round a silk parcel containing some of his ashes and the remains of his heart. Romantic or disturbing? Maybe a bit of both. Mary Shelley remained a stout political radical throughout her life. Mary's works often suggested that cooperation and sympathy, mainly as practiced by women in the family, were the ways to reform civil society. This view directly challenged the individualistic Romantic ethos promoted by Percy Shelley and Enlightenment political theories. She wrote seven novels / Two travel narrations / Twenty three short stories / Three books of children's literature, and many articles. Mary Shelley left her mark on the literary world, and her name will be forever etched in the catacombs of horror for generations to come. When it comes to reanimation, there's someone else we need to talk about. George Forster (or Foster) was found guilty of murdering his wife and child by drowning them in Paddington Canal, London. He was hanged at Newgate on 18 January 1803, after which his body was taken to a nearby house where it was used in an experiment by Italian scientist Giovanni Aldini. At his trial, the events were reconstructed. Forster's mother-in-law recounted that her daughter and grandchild had left her house to see Forster at 4 pm on Saturday, 4 December 1802. In whose house Forster lodged, Joseph Bradfield reported that they had stayed together that night and gone out at 10 am on Sunday morning. He also stated that Forster and his wife had not been on good terms because she wished to live with him. On Sunday, various witnesses saw Forster with his wife and child in public houses near Paddington Canal. The body of his child was found on Monday morning; after the canal was dragged for three days, his wife's body was also found. Forster claimed that upon leaving The Mitre, he set out alone for Barnet to see his other two children in the workhouse there, though he was forced to turn back at Whetstone due to the failing light. This was contradicted by a waiter at The Mitre who said the three left the inn together. Skepticism was also expressed that he could have walked to Whetstone when he claimed. Nevertheless, the jury found him guilty. He was sentenced to death and also to be dissected after that. This sentence was designed to provide medicine with corpses on which to experiment and ensure that the condemned could not rise on Judgement Day, their bodies having been cut into pieces and selectively discarded. Forster was hanged on 18 January, shortly before he made a full confession. He said he had come to hate his wife and had twice before taken his wife to the canal, but his nerve had both times failed him. A recent BBC Knowledge documentary (Real Horror: Frankenstein) questions the fairness of the trial. It notes that friends of George Forster's wife later claimed that she was highly suicidal and had often talked about killing herself and her daughter. According to this documentary, Forster attempted suicide by stabbing himself with a crudely fashioned knife. This was to avoid awakening during the dissection of his body, should he not have died when hanged. This was a real possibility owing to the crude methods of execution at the time. The same reference suggests that his 'confession' was obtained under duress. In fact, it alleges that Pass, a Beadle or an official of a church or synagogue on Aldini's payroll, fast-tracked the whole trial and legal procedure to obtain the freshest corpse possible for his benefactor. After the execution, Forster's body was given to Giovanni Aldini for experimentation. Aldini was the nephew of fellow scientist Luigi Galvani and an enthusiastic proponent of his uncle's method of stimulating muscles with electric current, known as Galvanism. The experiment he performed on Forster's body demonstrated this technique. The Newgate Calendar (a record of executions at Newgate) reports that "On the first application of the process to the face, the jaws of the deceased criminal began to quiver, and the adjoining muscles were horribly contorted, and one eye was actually opened. In the subsequent part of the process the right hand was raised and clenched, and the legs and thighs were set in motion."  Several people present believed that Forster was being brought back to life (The Newgate Calendar reports that even if this had been so, he would have been re-executed since his sentence was to "hang until he be dead"). One man, Mr. Pass, the beadle of the Surgeons' Company, was so shocked that he died shortly after leaving. The hanged man was undoubtedly dead since his blood had been drained and his spinal cord severed after the execution.   Top Ten Frankenstein Movies https://screenrant.com/best-frankenstein-movies-ranked-imdb/

This week, still in the Halloween spirit, we bring you what is widely regarded as the first modern vampire Tale, a short story called 'The Vampyre' by John Polidori.  It is notable as the second most famous piece of literature to come out of the legendary ghost story competition held between Byron and Shelley and their friends over a wet weekend on the shores of Lake Geneva.  That contest gave us 'Frankenstein' as well as this, the first story to fuse together various and disparate folk tales of the vampyre and the undead, and give us a modern narrative that would go on to inspire Bram Stoker and a host of other gothic horror writers.  If you'd like to support The Well Told Tale, please visit us on Patreon: https://www.patreon.com/thewelltoldtaleBooks - (buying anything on Amazon through this link helps support the podcast): The Vampyre and Other Tales of the Macabre - https://amzn.to/2ZNSrVz Vampire Classics (Illustrated) - https://amzn.to/3CHDrHt The Diary of Dr. John William Polidori - https://amzn.to/3CFFUlT FilmsBram Stoker's Dracula - https://amzn.to/3bAMa2lInterview with the Vampire - https://amzn.to/3EzmuiUI would like to thank my patrons: Toni A, Joshua Clark, Maura Lee, Jane, John Bowles, Glen Thrasher, Ruairi, Cade Norman, Chris, Britt and Silja Tanner.Support the show (https://www.patreon.com/thewelltoldtale)

En mayo de 1816, el llamado “año del verano que nunca llegó”, Mary Shelley –para aquel entonces Mary Godwin Wollstonecraft-, su hermanastra Claire Clairmont y su amante Percy Bysshe Shelley, se reunieron en la imponente Villa Diodati, donde los recibiría el poeta Lord Byron y su jovencísimo médico John William Polidori. Su estadía se vio afectada por las tempestades que reinaban, obligándolos a resguardarse tras las puertas de la mansión y hundirse en el pavor de las historias alemanas de fantasmas, las cuales derivarían en un certamen de historias sobrenaturales, que sin quererlo, haría historia. Ilustración de Portada: "FRANKENSTEIN AT WORK IN HIS LABORATORY" Artista desconocido (1922) Wikimedia Commons Música de fondo: Mozart Symphony No 40 in G Minor Molto Allegro – Czech National Symphony Orchesta Intro: Pure Imagination - Future James Soundcloud: https://soundcloud.com/futurejames

Programa Radio Activity #56 / T2 E10 MARY SHELLEY Chegamos a edição #56 do Radio Activity, T2 E10 da série Mistérios e falaremos um pouco sobre a escritora britânica Mary Wollstonecraft Shelley, nascida em 30 de agosto de 1797 em Londres falecida aos 53 anos no dia 01 de fevereiro de 1851. Filha do filósofo William Godwin e da feminista e escritora Mary Wollstonecraft, Mary Shelley foi autora, dramaturga, ensaísta, biógrafa e escritora e sua obra mais conhecida é seu romance gótico, Frankenstein: Prometeu Moderno de 1818. Ela também editou e promoveu os trabalhos de seu marido, o poeta romântico e filósofo Percy Bysshe Shelley, e entre seus principais amigos estão Lord Byron, John William Polidori, sua meia irmã Claire Clairmont e Samuel Taylor Coleridge. Mary Shelley é a mãe da Ficção Gótica!!! Apresentação: Benedicto Junior Edmilson Chamba Fiquem ligados: Dia, Data e Horário: Sábado / 18.09.2021 / Meia Noite Onde: Dark Radio no link: www.darkradio.com.br ou baixe o APP para Android / IOS e ouça em qualquer lugar. Você também pode ouvir este programa e outros em nossos canais: ANCHOR - https://anchor.fm/cabecametal ANCHOR - https://anchor.fm/darkradiobrasil SITE - https://www.darkradio.com.br SPOTIFY - https://open.spotify.com/show/37uxZ7KjB9nDqSDKnU5cnm Siga-nos em nossas redes sociais FACEBOOK e INSTAGRAM: @programaapocalipse Entre em contato pelo e-mail: apocalipseprograma@gmail.com Fonte: Radio Activity --- Send in a voice message: https://anchor.fm/apocalipsepress/message Support this podcast: https://anchor.fm/apocalipsepress/support

Aubrey, un giovane orfano e aristocratico, viene affascinato da Lord Ruthve, un affascinante uomo che frequenta la vita mondana di Londra, e decide di seguirlo in un viaggio nel continente. Durante questo viaggio scopre il lato oscuro del suo mentore, e decide di allontanarsene, ma non sarà cosa facile da fare.

There are 460 calories in a pint of blood, that's a pretty extreme diet programThe Vampyre published in 1819 and was part of the contest that also produced Frankenstein.John William Polidori - and English writer and Physician who is considered to be the father of the modern Vampire Story. I know Stoker gets all the glory but Polidori did it first!Instagram - @marleys_ghostsTwitter - @GhostsMarleyemail -marleysghostspodcast@gmail.comSleep Well!!!

O Vampiro de John William Polidori é o conto que marca o surgimento do vampiro moderno, e de alguma forma romântico, este é o verdadeiro pai de Lestat. #medicosescritores  uma iniciativa do Doutor João Barradas que podem seguir no Instagram @2bejay --- Send in a voice message: https://anchor.fm/anatomiadolivro/message

Before we ever saw Robert Pattinson naked, we saw Lord Ruthven ashamed. Join Zac, Bob and Lord Byron's personal physician as they spring up from their coffins and fly into The Vampyre.

Un día como hoy, 7 de septiembre: 1726, nace el músico y ajedrecista francés François-André Danican Philidor. 1795, nace es escritor John William Polidori, creador del arquetipo del vampiro. 1940, nace el tenor italiano Giuseppe Giacomini. 1949, muere el muralista José Clemente Orozco. 2010, muere el presentador de televisión Joaquín Soler Serrano.

Seguimos en cuarentena, quédate en casa y disfruta.Programa nº 23 de esta nueva aventura de terror radiofónico.El terror tiene forma, en un cuento, un relato, un poema. Cada martes en Alma en Radio y en Radio Trovador, Lady Necrophage, Toni López, Evaristo «el epitafio», Don Notorio y el pequeño Trauma nos adentran en el terrorífico mundo del audio-relato.Mes de marzo, mes de John William Polidori. Durante el mes de marzo conoceremos la vida de Polidori y disfrutaremos de su obra magna, «El vampiro». Hoy la tercera parte.Guion: Nieves GuijarroEdición: Toni LópezActores (independientemente del programa): Nieves Guijarro, Toni López, Rafael Lindem, Rebeca Guijarro, Mª Carmen Briones, Enrique Cardenal.Radio Trovador: https://radiotrovador.radiostream321.com/Alma en Radio: https://www.almaenradio.com/Visítanos en: www.luxferreaudios.com

Estamos en cuarentena, quédate en casa y disfruta.Programa nº 22 de esta nueva aventura de terror radiofónico.El terror tiene forma, en un cuento, un relato, un poema. Cada martes en Alma en Radio y en Radio Trovador, Lady Necrophage, Toni López, Evaristo «el epitafio», Don Notorio y el pequeño Trauma nos adentran en el terrorífico mundo del audio-relato.Mes de marzo, mes de John William Polidori. Durante el mes de marzo conoceremos la vida de Polidori y disfrutaremos de su obra magna, «El vampiro». Hoy la segunda parte.Disfruta del terror radiofónico en Alma en radio https://www.almaenradio.com/ y Radio Trovador: https://radiotrovador.radiostream321.com/Medianoche en España, 20h en Argentina y 18h en Perú.Visítanos en: www.luxferreaudios.com

Programa nº 21 de esta nueva aventura de terror radiofónico.El terror tiene forma, en un cuento, un relato, un poema. Cada martes en Alma en Radio y en Radio Trovador, Lady Necrophage, Toni López, Evaristo «el epitafio», Don Notorio y el pequeño Trauma nos adentran en el terrorífico mundo del audio-relato.Mes de marzo, mes de John William Polidori. Durante el mes de marzo conoceremos la vida de Polidori y disfrutaremos de su obra magna, «El vampiro». Hoy la primera parte.Disfruta del terror radiofónico en Alma en radio https://www.almaenradio.com/ y Radio Trovador: https://radiotrovador.radiostream321.com/Medianoche en España, 20h en Argentina y 18h en Perú.Guion: Nieves GuijarroEdición: Toni LópezActores (independientemente del programa): Nieves Guijarro, Toni López, Rafael Lindem, Rebeca Guijarro, Mª Carmen Briones, Enrique Cardenal.Radio Trovador: https://radiotrovador.radiostream321.com/Alma en Radio: https://www.almaenradio.com/Visítanos en: www.luxferreaudios.com

2020 Series. Episode #2 of 4. To escape what came to be known as The Year Without a Summer, a small group holed up in a Swiss villa and challenged each other to pass the time by telling the best ghost stories. Several notable literary works emerged from this friendly storytelling competition. Lord Byron’s poem Darkness, and the seeds of a novel about a blood-sucking man, which was used later by John William Polidori to write The Vampyre. By far the most important work conceived during this blustery retreat was written by the teen-aged Mary Godwin Shelley. That’s right folks, today we’re talking about the world’s first sci-fi thriller, the gothic horror novel, Frankenstein, or, The Modern Prometheus. What exactly was it about this work that captured the imagination of Shelley’s contemporaries? We have some ideas. The Scientific Revolution, gender crisis, literary Romanticism, and bodysnatching panics among them. Find transcripts and show notes at https://digpodcast.org/2020/01/12/frankenstein-enlightenment Learn more about your ad choices. Visit megaphone.fm/adchoices

Programa conducido por Darío Lavia y Chucho Fernández, especial vampiros Acto I: "Varney el vampiro" de James Malcolm Rymer 0:00:02 Acto II: Recomendaciones de Chucho Fernández 0:17:10 Acto III: "Londres después de media noche" de Marie Coolidge-Rask 0:25:43 Entrevista a Gonzalo Oyanedel 0:32:30 Acto IV: "Drácula, príncipe de las tinieblas" de Terence Fisher 0:41:49 Acto V: Entrevista a Gonzalo Ventura 0:52:17 Acto VI: "El vampiro" de John William Polidori 1:01:59 Gonzalo Oyanedel https://www.goodreads.com/author/show/8285507.Gonzalo_Oyanedel Web de De la Fosa https://www.delafosa.com/ Fan Page de Cineficción https://www.facebook.com/revista.cineficcion/ Cineficción http://www.cinefania.com/cineficcion/ IMDB https://www.imdb.com/title/tt12572956/

durée : 00:57:15 - Fictions / Samedi noir - par : Blandine Masson - Eté 1816. Participant à un concours d’histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu’alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

durée : 00:57:15 - Fictions / Samedi noir - par : Blandine Masson - Eté 1816. Participant à un concours d’histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu’alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

durée : 00:57:15 - Fictions / Samedi noir - par : Blandine Masson - Eté 1816. Participant à un concours d’histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu’alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

durée : 00:57:15 - Fictions / Samedi noir - par : Blandine Masson - Eté 1816. Participant à un concours d’histoires macabres, Polidori, le jeune médecin de Byron, invente la figure du vampire, jusqu’alors cantonné à la tradition folklorique, en en faisant un personnage séduisant, aristocratique et ténébreux… éminemment byronien.

Han pasado varios meses desde que hicimos un programa de Literatura y lo hemos cogido con ganas. Traemos obras que, de alguna manera u otra, están de actualidad y otras singulares y destacables. Entre ellas, un clásico del gótico, precursor de un mito inmortal. Tony, Dani, Raúl, Maite y Giacco os traen las siguientes obras... Reseñas: Normal (Warre Ellis). La Maldición de Hill House (Shirley Jackson). El Que Susurra (Malenka Ramos). El Atlas de las Nubes (David Mitchell). Cuatro Millones de Golpes (Eric Jiménez) Los Clásicos de HF: El Vampiro de John William Polidori (1819)

Han pasado varios meses desde que hicimos un programa de Literatura y lo hemos cogido con ganas. Traemos obras que, de alguna manera u otra, están de actualidad y otras singulares y destacables. Entre ellas, un clásico del gótico, precursor de un mito inmortal. Tony, Dani, Raúl, Maite y Giacco os traen las siguientes obras... Reseñas: Normal (Warre Ellis). La Maldición de Hill House (Shirley Jackson). El Que Susurra (Malenka Ramos). El Atlas de las Nubes (David Mitchell). Cuatro Millones de Golpes (Eric Jiménez) Los Clásicos de HF: El Vampiro de John William Polidori (1819)

A comienzos del siglo XIX Mary Shelley creará con su obra "Frankenstein, el moderno Prometeo", título que alude al titán griego creador y benefactor de los humanos, uno de los principales símbolos del género fantástico y de terror. La autora de la novela, Mary Shelley, fue hija del filósofo y político William Godwin y de la filósofa y pionera feminista Mary Wollstonecraft. Además de crear el mito de Frankenstein, escribió biografías, ensayos y artículos. Tras la muerte de su esposo, el poeta Percy Shelley, dedicó buena parte de su vida a promocionar su obra. Murió en 1851, a los 53 años de edad. En 1818, la publicación de “Frankenstein, el moderno Prometeo” impulsó un género literario, la ciencia ficción, que comenzaba a aflorar en el siglo XIX, además de renovar la literatura fantástica y de terror. Con un planteamiento visionario y en un momento de desarrollo científico, Mary Shelley, explora con su Frankenstein la condición humana y aborda interrogantes filosóficos sobre la ciencia y los riesgos de los excesos de la tecnología al traspasar sus límites éticos. Plantea temas ancestrales como la lucha entre el bien y el mal, o la relación entre el creador y su creación, y reflexiona sobre la soledad y la condición del extraño o diferente. La idea de Frankenstein nació el verano de 1816, cuando una serie de románticos se reunieron en Villa Diodati, cerca del Lago de Ginebra. El poeta Lord Byron propuso a los congregados, entre otros Mary y Percy Shelley, y su secretario, John William Polidori, que cada uno escribiera una historia de terror. Polidori y Mary Shelley fueron los únicos en cumplir el compromiso: crearon dos seres inmortales, el vampiro y Frankenstein. Frankenstein recibió críticas muy variadas, pero posteriormente saltó a la fama con las adaptaciones que se hicieron para el teatro y, posteriormente, en el cine. La primera obra cinematográfica es de 1910, a la que siguieron más de 150 versiones. El largometraje que ayudó a crear la imagen de Frankenstein, tal y como hoy lo conocemos, es de 1931. Bajo la dirección de James Whale, el mítico Boris Karloff encarnó de forma única la figura del monstruo. También habría espacio para una visión humorística de la criatura, como se hizo en la serie de televisión, "La familia Monster", o en "El jovencito Frankenstein" de Mel Brooks. El mito no ha parado de crecer y Frankenstein se ha convertido en un icono de la cultura universal. Documentos RNE muestra la obra y a su creadora desde la visión de Antonio Buitrago. Lo hace con la participación de: Elia Barceló, escritora y ganadora de varios premios de relato fantástico y ciencia ficción; William Ospina, autor de la obra "El año del verano que nunca llegó", donde recrea la génesis de Frankenstein; Luis Alberto de Cuenca, poeta y experto en literatura fantástica; César Mallorquí, escritor especialista en novela fantástica y literatura juvenil; Fernando Marías, escritor, editor e impulsor de la plataforma cultural "Hijos de Mary Shelley"; Pedro Ruíz-Castell, profesor de Historia de la Ciencia de la Universidad de Valencia; y José Carpio, catedrático del Departamento de Ingeniería Eléctrica de la UNED. ----------------------------------------------- Algún día en alguna parte: Web: http://buff.ly/1KQot5O Fragmentos para olvidar: http://buff.ly/1KQot5P Facebook: http://buff.ly/1R7rT0A Twitter: http://buff.ly/1R7rT0B Google+: http://buff.ly/1R7rT0C Tumblr: http://buff.ly/1R7rR8J Pinterest: http://buff.ly/1R7rT0D Instagram: http://buff.ly/1KQouGJ Podcast: http://buff.ly/1R7rR8M Canal en ivoox: http://buff.ly/1R7rR8N * Suscríbete a mi canal de YouTube: http://buff.ly/1R7rTgS Email: contacto@algundiaenalgunaparte.com

A comienzos del siglo XIX Mary Shelley creará con su obra "Frankenstein, el moderno Prometeo", título que alude al titán griego creador y benefactor de los humanos, uno de los principales símbolos del género fantástico y de terror. La autora de la novela, Mary Shelley, fue hija del filósofo y político William Godwin y de la filósofa y pionera feminista Mary Wollstonecraft. Además de crear el mito de Frankenstein, escribió biografías, ensayos y artículos. Tras la muerte de su esposo, el poeta Percy Shelley, dedicó buena parte de su vida a promocionar su obra. Murió en 1851, a los 53 años de edad. En 1818, la publicación de “Frankenstein, el moderno Prometeo” impulsó un género literario, la ciencia ficción, que comenzaba a aflorar en el siglo XIX, además de renovar la literatura fantástica y de terror. Con un planteamiento visionario y en un momento de desarrollo científico, Mary Shelley, explora con su Frankenstein la condición humana y aborda interrogantes filosóficos sobre la ciencia y los riesgos de los excesos de la tecnología al traspasar sus límites éticos. Plantea temas ancestrales como la lucha entre el bien y el mal, o la relación entre el creador y su creación, y reflexiona sobre la soledad y la condición del extraño o diferente. La idea de Frankenstein nació el verano de 1816, cuando una serie de románticos se reunieron en Villa Diodati, cerca del Lago de Ginebra. El poeta Lord Byron propuso a los congregados, entre otros Mary y Percy Shelley, y su secretario, John William Polidori, que cada uno escribiera una historia de terror. Polidori y Mary Shelley fueron los únicos en cumplir el compromiso: crearon dos seres inmortales, el vampiro y Frankenstein. Frankenstein recibió críticas muy variadas, pero posteriormente saltó a la fama con las adaptaciones que se hicieron para el teatro y, posteriormente, en el cine. La primera obra cinematográfica es de 1910, a la que siguieron más de 150 versiones. El largometraje que ayudó a crear la imagen de Frankenstein, tal y como hoy lo conocemos, es de 1931. Bajo la dirección de James Whale, el mítico Boris Karloff encarnó de forma única la figura del monstruo. También habría espacio para una visión humorística de la criatura, como se hizo en la serie de televisión, "La familia Monster", o en "El jovencito Frankenstein" de Mel Brooks. El mito no ha parado de crecer y Frankenstein se ha convertido en un icono de la cultura universal. Documentos RNE muestra la obra y a su creadora desde la visión de Antonio Buitrago. Lo hace con la participación de: Elia Barceló, escritora y ganadora de varios premios de relato fantástico y ciencia ficción; William Ospina, autor de la obra "El año del verano que nunca llegó", donde recrea la génesis de Frankenstein; Luis Alberto de Cuenca, poeta y experto en literatura fantástica; César Mallorquí, escritor especialista en novela fantástica y literatura juvenil; Fernando Marías, escritor, editor e impulsor de la plataforma cultural "Hijos de Mary Shelley"; Pedro Ruíz-Castell, profesor de Historia de la Ciencia de la Universidad de Valencia; y José Carpio, catedrático del Departamento de Ingeniería Eléctrica de la UNED. ----------------------------------------------- Algún día en alguna parte: Web: http://buff.ly/1KQot5O Fragmentos para olvidar: http://buff.ly/1KQot5P Facebook: http://buff.ly/1R7rT0A Twitter: http://buff.ly/1R7rT0B Google+: http://buff.ly/1R7rT0C Tumblr: http://buff.ly/1R7rR8J Pinterest: http://buff.ly/1R7rT0D Instagram: http://buff.ly/1KQouGJ Podcast: http://buff.ly/1R7rR8M Canal en ivoox: http://buff.ly/1R7rR8N * Suscríbete a mi canal de YouTube: http://buff.ly/1R7rTgS Email: contacto@algundiaenalgunaparte.com

Nos hemos pasado.Vale, lo sabemos. Somos madafakas, y nos hemos pasado.Pero no queríais que lo dividiéramos, y habéis estado mucho tiempo esperando, así que aquí está: el podcast sobre vampiros. Nuestra magna obra, y no porque sea buena, sino porque es un TOCHACO. Aquí caben cuatro de nuestros podcasts normales…Y como comprendo lo tochaco que es, aquí os dejo un "resumen" de lo que podéis encontrar en él, para que os sea fácil llegar sólo a los cachos que os interesen (que no me entere yo, malditos...).I. INTRO y bla, bla, blaSaludos a los oyentes, comentarios y tres promos:Comando Alt SuprimirInvaders PodcastPodcast CaramelizadoII. 1ª PARTE: Génesis -vampiros en la antigüedad y otras culturasUn poco sobre los antepasados del vampirismo y leyendas de diversas culturas (Mesopotamia, Grecia antigua, Asia, América...).III. 2ª PARTE: Europa y la histeria del siglo XVIIIOtro poco sobre el origen del vampiro tal y como lo conocemos, los puntos débiles de los chupasangres y características en general. También algo sobre nombres y etimología, y las causas que llevaron a creer en el nosferatu. IV. 3ª PARTE: Vampiros en la literatura y el cineEl grueso del podcast, supongo.Comenzando en el Romanticismo y las novelas de terror gótico, hacemos un tour por muchas de las obras en las que el vampiro hace su aparición.Aquí incluyo un listado, y como en el podcast mencionamos que algunos poemas los pondríamos en el blog, los he añadido. Der Vampir (Heinrich August Ossenfelder)Mi querida y joven doncella se aferraInflexible, rápida y firmementeA las antiguas enseñanzasDe una madre siempre fiel,Así como, en las orillas del Tisza,Los oficiales húngarosCreen en la leyenda del vampiro inmortal.Pero mi Christine, perdéis el tiempo,Y rechazáis mi amor,Hasta que yo, vengativo,Brinde a la salud de un vampiroCon pálido Tokay (vino húngaro). Y mientras durmáis delicadamenteA vos vendré arrastrándome,Y la sangre de vuestra vida absorberé.Y así temblaréis,Pues yo estaré besándoos,Y vos estaréis cruzando las puertas de la MuerteCon miedo, en mis fríos brazos.Y al final os preguntaré:“Comparados con tal enseñanza¿Qué son los encantos de una madre?” La novia de Corinto (Goethe)A salir de mi tumba y errar soy forzada,A buscar el vínculo a Dios hace tiempo cortado,A amar al prometido que he perdidoHasta que la sangre vital de su corazón haya bebido.Thalaba el Destructor (Robert Southey) Christabel (Samuel Taylor Coleridge)El Giaour (Lord Byron)[fragmento]Pero primero, sobre la tierra, como vampiro enviado,tu cadáver de la tumba será arrancado;luego, lívido, vagarás por el que fuera tu hogar,y la sangre de todos los tuyos has de beber;allí, de tu hija, hermana y esposa,a medianoche, la fuente de la vida secarás;Aunque abomines del banquete, debes, forzosamente,nutrir tu lívido cadáver viviente. Tus víctimas, antes de expirar,en el demonio a su señor verán;maldiciéndote, maldiciéndose,tus flores marchitándose están en el tallo.Pero una que por tu crimen debe caer,la más joven, entre todas, la más amada,llamándote padre, te bendecirá:¡esta palabra envolverá en llamas tu corazón! Pero concluir debes tu trabajo y observaren sus mejillas el último color;de sus ojos el último destello,y su postrera y vidriosa mirada debes verhelarse sobre el azul sin vida. Con impías manos desharás luegolas trenzas de su dorado cabello,que fueron en vida bucles por ti acariciadosy con promesas de tierno amor despeinados;¡pero ahora tú lo arrebatas, monumento a tu agonía! Con tu propia y mejor sangre chorrearántus rechinantes dientes y macilentos labios.Luego, a tu lóbrega tumba caminarás;ve, y con demonios y espíritus delira,hasta que de horror estremecidos, huyande un espectro más abominable que ellos.The Vampyre (John William Polidori)The Skeleton Court, or The Vampire Mistress (Elizabeth Caroline Grey) Varney the Vampire (James Malcolm Rymer) Carmilla (Sheridan LeFanu) Drácula (Bram Stoker)Vampire of the CoastThe Vampire (Robert Vignola) Nosferatu, una sinfonía de horror (F. W. Murnau) London After Midnight (Tod Browning) Drácula (Tod Browning) I am Legend (Richard Matheson)Drácula (Terence Fisher) The Fearless Vampire Killers (Dance of the Vampires) (Roman Polanski /Gérard Brach) Vampire Lovers / Las amantes vampiro (Roy Ward Baker)Blackula (William Crane) Blood for Dracula (Paul Morrissey) Salem’s Lot (Stephen King)The Dracula Tape (La voz de Drácula) (Fred Saberhagen)Entrevista con el Vampiro (Anne Rice) Zoltan, Hound of Dracula (Albert Band)The Hunger (Whitley Strieber)Fevre Dream / Sueño del fevre (George R. R. Martin) El ansia (Tony Scott)Lost Boys / Jóvenes ocultos (Joel Schumacher)Lost Souls (Poppy Brite)Anno Dracula (Kim Newman (Neil Gaiman))Drácula de Bram Stoker (Coppola)Entrevista con el vampiro (Niel Jordan)Abierto hasta el amanecer (Robert Rodríguez / Tarantino)Buffy cazavampiros (Joss Whedon)Blade (Stephen Norrington)Vampiros (John Carpenter)Vampyrrhic / El ejército de las sombras (Simon Clark)La sombra del vampiro (E. Elias Merhige)Drácula 2000 (Patrick Lussier)Jesucristo cazavampiros (Odessa Filmworks – Lee Demarbre)The Southern Vampire Mysteries [Dead until Dark] (Charlaine Harris)30 Days of Night (Steve Niles / Ben Templesmith)Underworld (Len Wiseman)La liga de los hombres extraordinarios (Alan Moore / Stephen Norrington)Van Helsing (Stephen Sommers)Låt den rätte komma in (John Ajvide Lindqvist) La historiadora (Elizabeth Kostova)Twilight (Stephenie Meyer)La criatura perfecta (Glenn Standring)30 días de noche (David Slade)Soy leyenda (Francis Lawrence)Moonlight (Ron Koslow / Trevor Munson)Déjame entrar (Tomas Alfredson)Crepúsculo (Catherine Hardwicke)True Blood (Alan Ball)Lesbian Vampire Killers (Phil Claydon) IV. EPÍLOGO o el trastero de los vampiros Aquí hablamos de algún que otro personaje real relacionado con el mito, como Vlad Tepes o Erzsébet Báthory, y de otros vampiros que decidimos dejar aparte:Vampiros en los videojuegos (Castlevania, Soul Reaver, Suikoden, Final Fantasy, Metal Gear Solid, D)Vampiros en los cómics y dibujos animados……y Transformers. Canciones que se pueden escuchar en el podcast:Libérame, de Elliot Goldenthal (B.S.O. de Entrevista con el Vampiro)Bela Lugosi is Dead, de BauhausBáthory Aria, de Cradle of FilthCry Little Sister, de Gerard McMann and Michael Mainieri (B.S.O. de The Lost Boys)Gay Bar, de Electric SixThe Hunger & 1,000,000 year BC, de The MisfitsBad Things, de Jace EverettClaire’s Dream, de London After Midnight[Dibujos varios perpetrados por Brucelé y Danikilu]

De todos los que podríamos considerar monstruos que han recorrido la literatura, hay unos especímenes que han evolucionado, crecido y se han difundido a lo largo y ancho del mundo; han cautivado a muchísimas personas; despiertan terror, intriga, respeto, amor y odio por partes iguales; y todo esto lo han hecho bajo el cobijo que da la noche. Estoy seguro que ya sabés de qué te estoy hablando... pero si hace falta un par de pistas te diré que el episodio cuatro de Qué leemos hoy? tiene un gusto particular por la sangre, no se refleja en los espejos, detesta el olor a ajo y podría acabarse abruptamente con una estaca de madera en el corazón. Así es, hoy el episodio es sobre vampiros.   Libros comentados El vampiro, John William Polidori (1816) - Ver en Goodreads Carmilla, Joseph Sheridan Le Fanu (1872) - Ver en Goodreads - Comprar en Amazon Muerto hasta el anochecer, Charlaine Harris (2001) - Ver en Goodreads - Comprar en Amazon   Mesa de noche Nuestra amiga Paula nos comenta sobre Drácula, Bram Stoker (1897) - Ver en Goodreads - Comprar en Amazon Si querés participar en nuestra sección Mesa de noche, podés enviarme tu audio por Facebook, o al correo electrónico mesadenoche@queleemoshoy.com.   ¡Conversemos! Si querés comunicarte conmigo podés hacerlo a través de las redes sociales: Facebook, Twitter e Instagram. También podés agregarme en Goodreads o enviarme un correo electrónico a info@queleemoshoy.com. No te olvidés de suscribirte a nuestro newsletter.   Música de este episodio Opening/Ending: "Be Love" by Kris Roche - Attribution-NonCommercial-NoDerivatives (aka Music Sharing) 3.0 International Background: "Mary Celeste", "Vanishing" and "Ice Flow" by Kevin MacLeod - Licensed under Creative Commons: By Attribution 3.0 License Estos habitantes de la noche generan no solo terror, sino también amor y odio por partes iguales #queleemoshoyClick To Tweet   Si te gustó este episodio, te agradezco una reseña y puntuación en iTunes. Además, compartí este episodio con cualquier apasionado de la lectura que conozcás.

Länklista Dracula Untold (film, Gary Shore, 2014) https://en.wikipedia.org/wiki/Dracula_Untold Beauty and the Beast (film, Bill Condon, 2017) https://en.wikipedia.org/wiki/Beauty_and_the_Beast_(2017_film) Mass Effect: Andromeda (spel, Bioware, 2017) https://en.wikipedia.org/wiki/Mass_Effect:_Andromeda The Handmaiden (film, Park Chan-wook, 2016)  https://en.wikipedia.org/wiki/The_Handmaiden Final Fantasy 15 (spel, Square Enix, 2016) https://en.wikipedia.org/wiki/Final_Fantasy_XV The Legend of Zelda: Breath of the Wild (spel, Nintendo, 2017) https://en.wikipedia.org/wiki/The_Legend_of_Zelda:_Breath_of_the_Wild The OA (tv-serie, Zal Batmanglij, 2016) https://en.wikipedia.org/wiki/The_OA Dracula (bok, Bram Stoker, 1897) https://en.wikipedia.org/wiki/Dracula The Vampyre (bok, John William Polidori) https://en.wikipedia.org/wiki/The_Vampyre Frankenstein (bok, Marry Shelly, 1818) https://en.wikipedia.org/wiki/Frankenstein En vampyrs bekännelser (bok, Anne Rice, 1976) https://en.wikipedia.org/wiki/Interview_with_the_Vampire  En vampyrs bekännelse (film, Neil Jordon, 1994) https://en.wikipedia.org/wiki/Interview_with_the_Vampire_(film) Strange Case of Dr. Jekyll and Mr. Hyde (bok, Robert Louis Stevenson, 1886) https://en.wikipedia.org/wiki/Strange_Case_of_Dr_Jekyll_and_Mr_Hyde The Terminator (film, James Cameron, 1984) https://en.wikipedia.org/wiki/The_Terminator Terminator 2: Judgement Day (film, James Cameron, 1991) https://en.wikipedia.org/wiki/Terminator_2:_Judgment_Day Om arternas uppkomst (bok, Charles Darwin, 1859) https://en.wikipedia.org/wiki/On_the_Origin_of_Species Twilight (bokserie, Stephenie Meyer, 2005-2008) https://en.wikipedia.org/wiki/Twilight_(novel_series) True Blood (tv-serie, Allan Ball, 2008–2014) https://en.wikipedia.org/wiki/True_Blood The Fly (film, Kurt Neumann, 1958) https://en.wikipedia.org/wiki/The_Fly_(1958_film) Godzilla (filmserie, 1954-) https://en.wikipedia.org/wiki/Godzilla Resident Evil (spelserie, Capcom, 1996-) https://en.wikipedia.org/wiki/Resident_Evil 12 Monkeys (film, Terry Gilliam, 1995) https://en.wikipedia.org/wiki/12_Monkeys George A. Romero (filmskapare, 1940-) https://en.wikipedia.org/wiki/George_A._Romero Warm Bodies (film, Jonathan Levine, 2013) https://en.wikipedia.org/wiki/Warm_Bodies iZombie (tv-serie, Rob Thomas, Diane Ruggiero-Wright, 2015-) https://en.wikipedia.org/wiki/IZombie_(TV_series) Gengångare (tv-serie, Fabrice Gobert, 2012-) https://en.wikipedia.org/wiki/Les_Revenants_(TV_series) Dawn of the Dead (film, Zack Snyder, 2004) https://en.wikipedia.org/wiki/Dawn_of_the_Dead_(2004_film) Vampire: The Masquerade (rollspel, White Wolf, 1991-) https://en.wikipedia.org/wiki/Vampire:_The_Masquerade Nosferatu (film, 1922, F.W. Murnau) https://en.wikipedia.org/wiki/Nosferatu Underworld (filmserie, 2003-) https://en.wikipedia.org/wiki/Underworld_(film_series) Alien (filmserie, 1979-) https://en.wikipedia.org/wiki/Alien_(franchise) Jaws (filmserie, 1975-) https://en.wikipedia.org/wiki/Jaws_(franchise) Jaws: The Revenge (film, Joseph Sargent, 1987) https://en.wikipedia.org/wiki/Jaws:_The_Revenge Sharknado (filmserie, 2013-) https://en.wikipedia.org/wiki/Sharknado_(film_series) Deep Blue Sea (film, Renny Harlin, 1999) https://en.wikipedia.org/wiki/Deep_Blue_Sea_(1999_film) Vampire diaries (serie, Kevin Williamson & Julie Plec, 2009 -) https://en.wikipedia.org/wiki/The_Vampire_Diaries Teen Wolf (film, Rod Daniel, 1985) https://en.wikipedia.org/wiki/Teen_Wolf Jurassic Park (film, Steven Spielberg, 1993) https://en.wikipedia.org/wiki/Jurassic_Park Jurassic World (film, Colin Trevorrow, 2015) https://en.wikipedia.org/wiki/Jurassic_World Them! (film, Gordon Douglas, 1954) https://en.wikipedia.org/wiki/Them! King Kong (filmserie, 1933-) https://en.wikipedia.org/wiki/King_Kong Kong: Skull Island (film, Jordan Vogt-Roberts, 2017) https://en.wikipedia.org/wiki/Kong:_Skull_Island King Kong vs Godzilla (film, Ishiro Honda, 1962) https://en.wikipedia.org/wiki/King_Kong_vs._Godzilla Gremlins (film, Joe Dante, 1984) https://en.wikipedia.org/wiki/Gremlins Shrek (film, Andrew Adamson & Vicky Jenson, 2001) https://en.wikipedia.org/wiki/Shrek The Incredible Hulk (Marvel-monster) https://en.wikipedia.org/wiki/The_Incredible_Hulk_(disambiguation)  Dexter (serie, James Manos Jr., 2006 – 2013) https://en.wikipedia.org/wiki/Dexter_(TV_series) The Thing (film, John Carpenter, 1982) https://en.wikipedia.org/wiki/The_Thing_(1982_film) Battlestar Galactica (tv-serie, Ronald D. Moore, 2004-) https://en.wikipedia.org/wiki/Battlestar_Galactica_(2004_TV_series) Penny Dreadful (tv-serie, John Logan, 2014-2016) https://en.wikipedia.org/wiki/Penny_Dreadful_(TV_series) The Day of the Triffids (tv-serie, Ken Hannam, 1981) https://en.wikipedia.org/wiki/The_Day_of_the_Triffids_(1981_TV_series) Perelandra (bok, C.S. Lewis, 1943) https://en.wikipedia.org/wiki/Perelandra Supernatural (tv-serie, Eric Kripke, 2005 -) https://en.wikipedia.org/wiki/Supernatural_(U.S._TV_series) Dorian Greys porträtt (bok, Oscar Wilde, 1890) https://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray Odysséen (miniserie, Andrei Konchalovsky, 1997 https://en.wikipedia.org/wiki/The_Odyssey_(miniseries) From Dusk to Dawn (film, Robert Rodriguez, 1996) https://en.wikipedia.org/wiki/From_Dusk_till_Dawn From Dusk to Dawn (tv-serie, Robert Kurtzman, 2014 -) https://en.wikipedia.org/wiki/From_Dusk_till_Dawn:_The_Series Hellboy (serie, Mike Mignola, 1993-) https://en.wikipedia.org/wiki/Hellboy The Blob (film, 1988) https://en.wikipedia.org/wiki/The_Blob_(1988_film) Trollhunter (film, André Øvredal 2010) https://en.wikipedia.org/wiki/Trollhunter Vampyrer: en kulturkritisk studie av den västerländska vampyrberättelsen från 1700-talet till 2000-talet (bok, Anna Höglund, 2011) http://www.adlibris.com/se/sok?q=9789173271448 Vampyrater: Havets demoner (bok, 2010) http://www.bokus.com/bok/9789132159107/vampyrater-havets-demoner/

Join us as we take a journey through the history of Vampires in Literature. Author Rick Powell joins us as we start off by examining The Vampyre. Written in 1819 by John William Polidori, this

Get ready as we throw so much shade on Lord Byron even a vampire would curse the night as we touch on the last of our “big three”: The Vampyre by John William Polidori. A short episode for a short story, we’ll discuss syphilis, the pains of being Lord Byron’s doctor, that night in Geneva in the year without a ... Read More

Dieses Mal liest Alexa den ‚Vampyr‚ von John William Polidori. Diese Erzählung gilt als eine der ersten Vampirgeschichten überhaupt und ist ein gutes Beispiel für eine ‚Gothic Novel‚. Viel Spaß bei der Geschichte über Aubrey und Lord Ruthven…

Dieses Mal liest Alexa den 'Vampyr' von John William Polidori. Diese Erzählung gilt als eine der ersten Vampirgeschichten überhaupt und ist ein gutes Beispiel für eine 'Gothic Novel'. Viel Spaß bei der Geschichte über Aubrey und Lord Ruthven.