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The so-called "Devil Theatre" is here set against its context of non-dramatic texts on possession and exorcism, providing many new insights. Representations of demonic possession and exorcism rituals abound in English Renaissance drama, an area which this book seeks to illuminate by comparison with non-dramatic works. The author investigates stage images of possessionin relation to a range of early modern demonological, theological and medical prose texts on the subject, looking specifically at how the theatre responded to these texts. He argues that the stage appropriated debates over demonicpossession to explore the competing roles of the inner life and the body in early modern definitions of selfhood. The theatre also employed the contemporary controversy over possession and exorcism to investigate the politics ofreligion, and to consider the nature of monarchic power. Moreover, because demonic possession cases and exorcism rituals were frequently dismissed by conformist writers as a piece of theatre, they offered an opportunity to reflecton the nature of drama and role-playing. JAN FRANS VAN DIJKHUIZEN is lecturer and research fellow at the University of Leiden.
On the night of October 10, 2008, Johnny Altinger, 38 and single, was heading to his first date with a woman he had met online. Soon after, Johnny's friends received strange emails and computer messages from him, boasting of his new girlfriend and her plans to treat him to an extended tropical holiday. 'I've got a one way ticket to heaven,' he wrote, 'and I'm never coming back.' He was never seen again. Two weeks earlier, aspiring filmmaker Mark Twitchell, a young father with a devotion to the television series Dexter, began a three-day shoot for his latest short film. His horror story featured a serial killer who impersonates women on an online dating site to lure unsuspecting men to his suburban kill room. But was his script actually the blueprint for a real-life murder? And what of Twitchell's other writings, including the elaborate and shocking document titled S.K. Confessions? Was it a diary detailing his dark transformation into a would-be serial killer? Combining sharp journalistic insight, meticulous research, and a powerfully gripping narrative,The Devil's Cinemais the definitive account of the notorious 'Dexter Killer,' a case and trial that captured the world's attention. Steve Lillebuen takes us deep into the extraordinary police investigation and the lives of everyone involved, while unveiling never-before-revealed details, all drawn from extensive and exclusive interviews - including months of contact with the killer himself. Moving from the police station to the courtroom, from the surface calm of suburbia to the surreal glamour of Hollywood, The Devil's Cinemais a compelling, multi-faceted story of dangerous obsessions pushed to extremes.
Reality and fantasy collide with shocking results in this riveting account of the notorious case of Mark Twitchell - and the police investigation into one of the most bizarre murders in recent memory. In October 2008, Johnny Altinger, a 38-year-old Edmonton man, was on his way to a tryst with a woman he had met on an online dating website when he emailed the directions to their rendezvous to a concerned friend. He was never seen again. Two weeks before Altinger's disappearance, independent filmmaker Mark Twitchell began shooting a low-budget horror film about a serial killer who impersonates a woman on an online dating website to lure his victims to their gruesome deaths. But these are just the starting points of the stranger-than-fiction case of Mark Twitchell, a man with a startling plan to turn his life-long love of fantasy and desire for fame into reality: - Did Twitchell, in a horrific example of life imitating art, act out the grisly premise of his own script? - Obsessed with Dexter, the popular TV show and book series about a fictional vigilante serial killer, Twitchell assumed Dexter Morgan's profile on Facebook. But how far did he intend to take his fascination with Dexter? - Is the shocking document "S.K. Confessions" a graphic work of fiction that, as Twitchell claims, he wrote to promote his film? Or is it a diary he kept of his transformation into a killer, and proof that the police stopped a prolific serial killer at the very beginning? Veteran journalist Steve Lillebuen provides a gripping investigative account of the nesting doll intricacies of the case, plunging us into the world of pop culture fanaticism and into the mind of a self-professed psychopath. Drawing on extensive interviews, Lillebuen illuminates what can happen when some of our culture's darkest obsessions are pushed to extremes.
Finalist, 2021 Bram Stoker Awards (Superior Achievement in Non-Fiction) The first collection of essays to address Satan’s ubiquitous and popular appearances in film Lucifer and cinema have been intertwined since the origins of the medium. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen. This collection explores how the devil is not just one monster among many, nor is he the “prince of darkness” merely because he has repeatedly flickered across cinema screens in darkened rooms since the origins of the medium. Satan is instead a force active in our lives. Films featuring the devil, therefore, are not just flights of fancy but narratives, sometimes reinforcing, sometimes calling into question, a familiar belief system. From the inception of motion pictures in the 1890s and continuing into the twenty-first century, these essays examine what cinematic representations tell us about the art of filmmaking, the desires of the film-going public, what the cultural moments of the films reflect, and the reciprocal influence they exert. Loosely organized chronologically by film, though some chapters address more than one film, this collection studies such classic movies as Faust, Rosemary’s Baby, The Omen, Angel Heart, The Witch, and The Last Temptation of Christ, as well as the appearance of the Devil in Disney animation. Guiding the contributions to this volume is the overarching idea that cinematic representations of Satan reflect not only the hypnotic powers of cinema to explore and depict the fantastic but also shifting social anxieties and desires that concern human morality and our place in the universe. Contributors: Simon Bacon, Katherine A. Fowkes, Regina Hansen, David Hauka, Russ Hunter, Barry C. Knowlton, Eloise R. Knowlton, Murray Leeder, Catherine O’Brien, R. Barton Palmer, Carl H. Sederholm, David Sterritt, J. P. Telotte, Jeffrey Andrew Weinstock
Devil’s Mile tells the rip-roaring story of New York’s oldest and most unique street The Bowery was a synonym for despair throughout most of the 20th century. The very name evoked visuals of drunken bums passed out on the sidewalk, and New Yorkers nicknamed it “Satan’s Highway,” “The Mile of Hell,” and “The Street of Forgotten Men.” For years the little businesses along the Bowery—stationers, dry goods sellers, jewelers, hatters—periodically asked the city to change the street’s name. To have a Bowery address, they claimed, was hurting them; people did not want to venture there. But when New York exploded into real estate frenzy in the 1990s, developers discovered the Bowery. They rushed in and began tearing down. Today, Whole Foods, hipster night spots, and expensive lofts have replaced the old flophouses and dive bars, and the bad old Bowery no longer exists. In Devil’s Mile, Alice Sparberg Alexiou tells the story of the Bowery, starting with its origins, when forests covered the surrounding area, and through the pre–Civil War years, when country estates of wealthy New Yorkers lined this thoroughfare. She then describes the Bowery’s deterioration in stunning detail, starting in the post-bellum years. She ends her historical exploration of this famed street in the present, bearing witness as the old Bowery buildings, and the memories associated with them, are disappearing.
John Cox tells the intriguing story of stage devils from their earliest appearance in English plays to the closing of the theatres by parliamentary order in 1642. The book represents a major revision of E. K. Chambers' ideas of stage devils in The Medieval Stage (1903), arguing that this is not a history of gradual secularization, as scholarship has maintained for the last century, but rather that stage devils were profoundly shaped from the outset by the assumptions of sacred drama and retained this shape virtually unchanged until the advent of permanent commercial theatres near London. The book spans both medieval and Renaissance drama including the medieval Mystery cycles on the one hand, through to plays by Greene, Marlowe, Shakespeare (1 and 2 Henry VI), Jonson, Middleton and Davenant. An appendix lists all known devil plays in English from the beginning to 1642.