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During the 1970s, the sub-genre of Blaxploitation Horror films was influenced by Black Nationalism and drew from themes of Black Power to appeal to Black audiences. This thesis explores Blaxploitation horror and Black Power by comparing Blacula with Scream, Blacula, Scream. However, the degree to which Black Power appeared varied depended on the amount of Black involvement. Blacula (1972) was significant because it was the first Blaxploitation horror film and presented the first Black vampire in a Hollywood film. Directed by William Crain, a Black director with ties to the L.A. Rebellion, a Black Nationalist filmmakers' movement, the film makes a statement against violent police systems using elements of Black Power. In contrast, Scream, Blacula, Scream (1973) directed by a white director, Bob Kelljan, followed a more stereotypical and exploitative model than Blacula. Historians have argued that overall Blaxploitation horror films failed at an attempt to present positive political statements. However, this thesis suggests that while both Blacula and Scream, Blacula, Scream failed to overcome Black stereotypes, Blacula draws more heavily from Black Power and intentionally incorporates Black Power ideology while Scream, Blacula, Scream follows a more traditional horror formula. This digital project explores the contrast between the two films through an exhibit, timeline, and podcast hosted on Omeka and WordPress.
The bestselling author of "The New Annotated Sherlock Holmes" returns with this spectacular, lavishly illustrated homage to Bram Stoker's "Dracula." 35 color and 400 b&w illustrations.
This book examines a number of blaxploitation films – including Cotton Comes to Harlem (1970), Blacula (1972), and The Mack (1973) – and illustrates the manner in which 'blaxploitation' came to be understood as a separate genre.
The witch, the vampire and the werewolf endure in modern horror. These "old monsters" have their origins in Aristotle as studied in the universities of medieval Europe, where Christian scholars reconciled works of natural philosophy and medicine with theological precepts. They codified divine perfection as warm, light, male and associated with the ethereal world beyond the moon, while evil imperfection was cold, dark, female and bound to the corrupt world below the moon. All who did not conform to divine goodness--including un-holy women and Jews--were considered evil and ascribed a melancholic, blood hungry and demonic physiology. This construct was the basis for anti-woman and anti-Jewish discourse that has persisted through modern Western culture. Nowhere is this more evident than in horror films, where the witch, the vampire and the werewolf represent our fear of the inverted other.
In this greatly expanded third edition, Alain Silver and James Ursini turn their gaze for the first time upon the vampire films released during the past five years, including Interview with the Vampire and Vampire in Brooklyn.
Black Lenses, Black Voices is a provocative look at films directed and written_and sometimes produced_by African Americans, as well as black-oriented films whose directors or screenwriters are not black. Mark Reid shows how certain films dramatize the contemporary African American community as a politically and economically diverse group, vastly different from film representations of the 1960s. Taking us through the development of African American independent filmmaking before and after World War II, he then illustrates the unique nature of African American family, action, horror, female-centered, and independent films, such as Eve's Bayou, Jungle Fever, Shaft, Souls of Sin, Bones, Waiting to Exhale, Monster's Ball, Sankofa, and many more.
Utilising in-depth reviews, cast and plot details, Slimetime wallows in those films which the world has deemed it best to forget - everything from cheesy no-budget exploitation to the embarrassing efforts of Major Studios. Many of these films have never seen a major release, some were big hits, and others have simply vanished. To compliment the wealth of reviews on sci-fi, schlock, flower power and puppet people films are detailed essays on specific sleaze genres such as Biker, Blaxploitation and Drug movies. Fully updated and revised with new reviews and new illustrations.
This companion to the wildly popular HBO series True Blood is at once an introductory guide to the first two seasons of the vampire saga and a treasure trove for the legions of true believers who follow the show. Created by Alan Ball, the Oscar-winning writer of American Beauty and creator of HBO's cult ensemble sensation Six Feet Under, True Blood surpassed The Sopranos as the largest-ever audience for a cable show at more than 12.4 million viewers a week. It has revitalized the career of Oscar-winner Anna Paquin and has introduced international audiences to Stephen Moyer, Alexander Skarsgård, and Ryan Kwanten and an extensive, award-winning cast. Exclusive interviews, in-depth biographies of cast members, an episode guide, and behind-the-scenes anecdotes flesh out the fictional characters as well as the actors who inhabit the roles. Some of the underlying themes of the series—such as the politics of race, sexuality, and gender—are explored, and chapters on paranormal phenomena and the literary and cinematic histories of vampires are also included. In addition, this analysis offers an introduction to author Charlaine Harris, whose popular Sookie Stackhouse novels were the inspiration for the television series, as well as a discussion of the role of the fan base and social media in the phenomenal rise of this television sensation.
Vampires have been a fixture of film since Bela Lugosi brought Bram Stoker's Dracula to life on the big screen in 1931. Over the decades the genre has been far from static, as vampire narratives changed and evolved with the appetites of their viewing public. First depicted as formally dressed villains, vampires would later be portrayed as supernatural beings with some human characteristics, and still later as sympathetic figures. Focusing on 19 representative films and television productions, this critical study tracks the evolutionary changes of the screen vampire. It explores the factors that cause a genre to change and examines the alternating cycles of audience expectation. The author identifies three distinct modes of depiction: the Malignant Cycle (1931-1948), comprised primarily of the Universal films; the Erotic Cycle (1957-1985), which encompasses Hammer films and popular television shows such as Dark Shadows; and the Sympathetic Cycle (1987-present) including recent offerings such as The Lost Boys, Interview with the Vampire and Buffy the Vampire Slayer. Each film is evaluated in seven key areas including the act of the vampire biting the victim; process of the victim's infection; physical appearance and demeanor of the vampire and the vampire expert; and the eventual destruction of the vampire. Appendices include a complete filmography of the films examined. Instructors considering this book for use in a course may request an examination copy here.