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What if someone wrote a tale about Dracula that was different from the rest? Wouldn’t it be refreshing to read a vampire story that cuts through Hollywood’s glitzy version of vampires, and invites the reader into the ethereal realm of otherworldly creatures? Vlad Dracula is a handsome and virile vampire, although a savage killer, he is a hopeless romantic; our count also has the ability to time travel. In this gripping tale we explore the man living behind the vampire, as Dracula navigates his way through time, settling in London where he spawns a colony of vampires who live beneath Trafalgar Square. Assisting the seasoned vampire is the infamous Jack the Ripper; he has been made a creature of the night, but still has a penchant for killing prostitutes. When the Blitzkrieg destroys Makefield Manor in 1941, Dracula and his entourage are forced to leave London. They decide to settle in New York City during the tumultuous 1960s, where they discover a modern world and a new enemy called the Van Helsings. This narrative offers a different perspective on the ethereal realm of vampires and the earthbound spirits who keep them company, in a place called the Otherworld. Accompanying the two vampires on a journey through time are an artist, a poet and a group of misfit children; together they encounter an array of historical figures including, Elizabeth Bathory a.k.a. the Blood Countess, Adolph Hitler, Vincent Van Gogh, Charles Manson and even Bram Stoker, himself. Their misadventures create an action packed and compelling story that makes the reader want to keep turning the page. I hope you enjoy the ride!
This is a comprehensive textbook on child and adolescent psychotherapy. It is suitable for students at graduate, postgraduate and advanced undergraduate levels. It will also serve to inform experienced practitioners about the latest developments in the field. Bringing together concepts and methods from psychodynamic, behavioural, cognitive and developmental perspectives, it provides an integrative conceptual model and therapeutic approach for conducting psychotherapy with children and adolescents troubled by a wide range of psychological and cognitive difficulties, including ADHD and learning disorders. The integrated model and rationale described seeks to stimulate students and experienced clinicians alike to step out of the present-day, conceptually segregated world of psychotherapy and into a world of psychotherapy unbounded by narrow theoretical orientations.
Judith Taylor Gold challenges traditional views that trace the source of Christian anti-Semitism to the presentation of Jews in the first four books of the New Testament. She contends that the unflattering depiction of Jews in the gospels and other Christian writings is the result—not the cause—of Christian anti-Semitism. Traversing widely ranging subjects such as pre-Christian religion, New and Old Testament scripture, horror literature, incest and pornography, she invokes an imperative "exchange of dialectics" between the unconscious mind and the hidden content of the Christ story as the birthplace of Christian anti-Semitism.
Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers. In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland. Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.
Dracula has long been considered the most popular horror story ever written, though the origins of the character have never been investigated further than the point of disproving a definite link with Vlad III The Impaler (The Historical Dracula). What if we were to find positive proof that Stoker's story was in fact based on real events which have been hidden within an unholy grail of code embedded in his research papers for over a century. What if we where to find absolute proof that Stoker was indeed acquainted with the infamous shadowy figure they called The "Ripper" and had wrote his novel Dracula as a direct response to this shocking fact?
Contains classroom exercises for teachers of drama in the secondary school.
Almost as long as cinema has existed, vampires have appeared on screen. Symbolizing an unholy union between sex and death, the vampire—male or female—has represented the libido, a “repressed force” that consumed its victims. Early iconic representations of male vampires were seen in Nosferatu (1922) and Dracula (1931), but not until Dracula’s Daughter in 1936 did a female “sex vampire” assume the lead. Other female vampires followed, perhaps most provocatively in the Hammer films of the 1950s, ’60s, and ’70s. Later incarnations, in such films as Near Dark (1987) and From Dusk till Dawn (1996), offered modern takes on this now iconic figure. In Dracula’s Daughters: The Female Vampire on Film, Douglas Brode and Leah Deyneka have assembled a varied collection of essays that explore this cinematic type that simultaneously frightens and seduces viewers. These essays address a number of issues raised by the female vampire film, such as violence perpetrated on and by women; reactions to the genre from feminists, antifeminists, and postfeminists; the implications of female vampire films for audiences both gay and straight; and how films reflected the period during which they were created. Other topics include female vampire films in relationship to vampire fiction, particularly by women such as Anne Rice; the relationship of the vampire myth to sexually transmitted diseases like AIDS; issues of race and misogyny; and the unique phenomenon of teen vampires in young adult books and films such as Twilight. Featuring more than thirty photos spanning several decades, this collection offers a compelling assessment of an archetypal figure—an enduring representation of dark desires—that continues to captivate audiences. This book will appeal not only to scholars and students but also to any lover of transgressive cinema.
Jonathan Harker, a young English lawyer, travels to Castle Dracula in the Eastern European country of Transylvania to conclude a real estate transaction with a nobleman named Count Dracula. As Harker wends his way through the picturesque countryside, the local peasants warn him about his destination, giving him crucifixes and other charms against evil and uttering strange words that Harker later translates into "vampire." Frightened but no less determined, Harker meets the count's carriage as planned. The journey to the castle is harrowing, and the carriage is nearly attacked by angry wolves along the way. Upon arriving at the crumbling old castle, Harker finds that the elderly Dracula is a well educated and hospitable gentleman. After only a few days, however, Harker realizes that he is effectively a prisoner in the castle.
The hardcore views and lampoons presented here are entirely my own- ruthlessly analyzed and synthesized mainly from New Testament sources. If you ask me why I write such a nasty book, my retort is, why do the Gospel narrators write such bad, asinine, pious fucking fiction? Why were the Gospel writers not serious, and why do they make a joke of their god, Jesus? St Matthew should either be awarded Most Asinine Religious Writer of the Millennium or be sodomized with a broomstick. Theologians are extremely lousy analytic thinkers. For example, they and the educated Christians dont even know, or dare, to answer this sticky question over 2,000 years: Judas betrayed Jesus, but what was the substance of the betrayal? Was it over the stupid, limpid Sermons on the Mount, the Parable of Hidden Treasure, or Parable of the Pearl of Great Price? Be prepared for a rough ride! This is PPG rated. (Pastor et Parental Guidance)
Postmodern Vampires: Film, Fiction, and Popular Culture is the first major study to focus on American cultural history from the vampire’s point of view. Beginning in 1968, Ní Fhlainn argues that vampires move from the margins to the centre of popular culture as representatives of the anxieties and aspirations of their age. Mapping their literary and screen evolution on to the American Presidency, from Richard Nixon to Donald Trump, this essential critical study chronicles the vampire’s blood-ties to distinct socio-political movements and cultural decades in the late twentieth and early twenty-first centuries. Through case studies of key texts, including Interview with the Vampire, The Lost Boys, Blade, Twilight, Let Me In, True Blood and numerous adaptations of Dracula, this book reveals how vampires continue to be exemplary barometers of political and historical change in the American imagination. It is essential reading for scholars and students in Gothic and Horror Studies, Film Studies, and American Studies, and for anyone interested in the articulate undead.