Social Media Post - Lust for a Vampire (1970)

 LUST FOR A VAMPIRE (1971)

In 1970, Hammer Films released The Vampire Lovers, the first film about the sadistic and Satanic Karnstein family. The three movies, known as The Karnstein Trilogy, have become infamous for titillating scenes of nudity and their through-the-male-lens depiction of lesbianism. The films are based on the novella Carmilla by Irish author Sheridan Le Fanu. Polish actor Ingrid Pitt was the first to wear the shroud of Carmilla Karnstein, who destroyed families with her ravenous desire for budding flesh. In Lust For A Vampire (directed by Jimmy Sangster from Tudor Gates’ script), blonde, Danish Yutte Stensgaard takes up the Karnstein, blood-stained funerary garments and heads off to school.

Social Media Post -  The Vampire Lovers (1970)

 England’s Hammer Films became the new home of gothic horror in the late 1950s when they began remaking the classic Universal monsters movies.  Beautifully shot in vibrant technicolor with elaborate sets and period costumes, the studio included many beautiful, scantily dressed women displaying prominent decolletage straining the seams of their diaphanous nightgowns.

Social Media Post: Horror Movie Trivia

Horror Movie Trivia Time! 

Did you know that Universal Studios did not give Boris Karloff credit for playing Frankenstein's Monster?  A question mark stands in the place of his name in the opening credits.

It wasn't until the final credits rolled at the film's December 4, 1931 premier that the audience learned the name of the actor whose sympathetic portrayal of the monster had touched them?

Karloff himself was not even invited to the premier!

 

Social Media Post - Revenge (Coralie Fargeat 2017)

 Social Media Post - Revenge 

SPOILER ALERT!

 The on-screen depiction of acts of violence against women, especially rape, and the victim’s response (especially if it resembles revenge) have always provoked powerful responses from the viewing public and critics. One troubling aspect, according to Carol Clover in her 1992 book, “Men, Women, and Chain Saws,” is the male audience’s sadistic and voyeuristic reaction to the suffering of the victim and her turn to avenging hero. She describes how theater audiences, of mostly adolescent males, undergo a curious identification switch during the film - first they watch and cheer at the attack on the victim, depicted in unflinching, graphic displays. Then they “reverse their sympathies to cheer the survivor on as she assaults the killer” (Carol Clover - Men, Women, and Chainsaws, p23).

Social Media Post: WIWLN Goes to Paris

"Stop! This is the Kingdom of the Dead"

Where does horror reside? One answer is in the abject. The abject is a place where we are exposed to transgressive objects - things that should not be or fewest things that should not be seen. Crossing into the abject is to abandon the known, familiar and welcoming for the unknown, unfamiliar and unwelcoming. As horror fans, we are often dedicated to exploring the abject from the safety of our friendly places.

 

Our own bodies are often the first exposure to this frightful realm. Knowledge of the whole unseen world under our skin can be both fascinating and frightening. The first sight (or taste!) of blood, seeing the exposed organs of a carcass or the pictures in my mother’s anatomy textbooks and the first time touching a corpse are cemented in my mind. These days, encountering a skeleton outside its meat envelope is no longer disconcerting, but being amongst the six million skeletons residing in the Paris Catacombs was a somber reminder of what awaits us all.

 

Dr. Pretorius toasts a freshly harvested skeleton's new life in The Bride of Frankenstein.