MONSTER - Von Zombies, H. Lector, Jigsaw, Frankenstein & Co. (German Edition)
In the original text, Frankenstein creates his monster in solitude without servants. In the novel, how Frankenstein builds the creature is only obscurely described, references being made to a long slow process born from a combination of new scientific principles and ancient alchemical lore. Whereas the movies precisely depict the methodology by which their version of the monster is created, showing Frankenstein robbing graves of the recently dead and using the organs and body parts to reconstruct a new human body.
This process culminates with the harnessing of a lightning bolt to awaken the creature, a scene famously depicted with great spectacle in the film. Despite their at best limited presence in the original novel emphasized by Frankenstein's three brushoffs of the question , the idea of the patchwork body of dead flesh and massive discharges of electricity being key to the genesis of the monster have become commonly associated with the Frankenstein story.
Another part of the book that is entirely unmentioned in the movie is the Monster's request that Frankenstein make a female companion for him. The Monster threatens Frankenstein, and Frankenstein submits and begins to create another creature. Halfway through the procedure, Frankenstein is overcome with guilt and destroys his work, saying that he would not form another being as hideous and demonic as the first one. This enrages the Monster and causes him to vow that he will be with Frankenstein on his wedding night.
Much of this material is dealt with in Bride of Frankenstein. In the novel, Frankenstein's name is Victor, not Henry Henry Clerval was the name of Victor's best friend and he is not a doctor, but rather a college dropout who studied chemistry. Elizabeth is murdered by the Monster on her wedding night. Victor's father dies heartbroken after Elizabeth's murder and Victor begins his pursuit of the monster, which eventually leads to his death from an illness aboard a boat en route to the North Pole.
The Monster, finding Victor dead, vows to travel to the Pole and commit suicide, although it is not revealed if he does so. The film begins with Edward Van Sloan stepping from behind a curtain and delivering a "friendly warning" before the opening credits:. We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told.
It deals with the two great mysteries of creation — life and death. I think it will thrill you. It may shock you. It might even — horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now's your chance to — uh, well, we warned you. In the opening credits, Karloff is unbilled, with only a question mark being used in place of his name. This is a nod to a tradition of theatrical adaptations billing the monster without a name. Universal had not revealed in advance who was playing the monster, and had not released any pictures of the monster in order to conceal his appearance.
Karloff's name is revealed in the closing credits, which otherwise duplicate the credits from the opening under the principle that "A Good Cast Is Worth Repeating". There was controversy around this point originally, as some part of the management of Universal built up the suspense of who was playing the creature to gather interest in the film as Bela Lugosi was still largely thought to be performing the role of the creature up until the time of the film's release. Some papers were erroneously still listing Lugosi as the performer. Some were coming to see if Lugosi had changed his mind and recanted to star in the film despite some published statements to the contrary, most notably the still famous "electric beam eyes" poster which still credited Lugosi as the monster and showed the creature without the now famous flat head, neck-bolt makeup created by Universal Studios make-up artist Jack Pierce.
Others state it was because the film would cause the ruin of the performer in the role and wanted to minimize said actor's liability, for the original film went against the censor boards of the day. Bela Lugosi was originally set to star as the monster. After several disastrous make-up tests, the Dracula star left the project. Although this is often regarded as one of the worst decisions of Lugosi's career, in actuality the part that Lugosi was offered was not the same character that Karloff eventually played.
The character in the Florey script was simply a killing machine without a touch of human interest or pathos, reportedly causing Lugosi to complain "I was a star in my country and I will not be a scarecrow over here! Ironically, Lugosi would later go on to play the monster in Frankenstein Meets the Wolf Man a decade later, when his career was in decline and only after Lon Chaney, Jr. Chaney had already appeared as the Monster in the previous Frankenstein film Ghost of Frankenstein, directly succeeding Boris Karloff in the role.
As was the custom at the time, only the main cast and crew were listed in the credits. Additionally, however, a number of other actors who worked on the project were or became familiar to fans of the Universal horror films. Jack Pierce was the makeup artist who designed the now-iconic "flat head" look for Karloff's monster, although Whale's contribution in the form of sketches remains a controversy, and who was actually responsible for the idea of the look will probably always be a mystery. Kenneth Strickfaden designed the electrical effects used in the "creation scene.
Accordingly, the equipment used to produce them has come to be referred to in fan circles as "Strickfadens. According to this same source, Strickfaden also doubled for Karloff in the electrical "birth" scene as Karloff was deathly afraid of being electrocuted from the live voltage on the stage. The scene in which the monster throws the little girl into the lake and accidentally drowns her has long been controversial. Upon its original release, the second part of this scene was cut by state censorship boards in Massachusetts, Pennsylvania, and New York. Those states also objected to a line they considered blasphemous, one that occurred during Frankenstein's exuberance when he first learns that his creature is alive.
The original line was: "It's alive! It's alive! In the name of God! Now I know what it's like to be God! Originally, Kansas refused to pass the film without dozens of cuts. Universal Pictures sent censor representative Joseph Breen there to urge them to reconsider. Eventually, a compromise was reached, and Frankenstein was shown in that state. As with many Pre-Code films that were reissued after strict enforcement of the Production Code in , Universal made cuts from the master negative, and the deleted sequences were unseen for years.
For a reissue of the film, these cuts included:. These censored scenes were not shown for decades; in , MCA-Universal restored the shots of Fritz tormenting the Monster, close up of needle injection and Maria being thrown in the water while the full "Now I know what it feels like to be God! Frankenstein received universal acclaim from critics and is widely regarded as one of the best films of , as well as one of the greatest movies of all time. In , the film was selected for preservation in the United States National Film Registry as being deemed "culturally, historically or aesthetically significant".
Frankenstein also received recognition from the American Film Institute. It was named the 87th greatest movie of all time on Years The line "It's alive! Henry Frankenstein and the Monster in the villains category. The film was ranked number 56 on AFI's Years It was also ranked number 27 on Bravo's Scariest Movie Moments. Additionally, the Chicago Film Critics Association named it the 14th scariest film ever made.
Frankenstein was followed by a string of sequels, beginning with Bride of Frankenstein , in which Elsa Lanchester plays the Monster's bride. The next sequel, 's Son of Frankenstein, was made, like all those that followed, without Whale or Clive who had died in This film also featured Karloff's last full film performance as the Monster. The Ghost of Frankenstein was released in The movie features Lon Chaney, Jr. Many of the subsequent films which featured Frankenstein's monster demote the creature to a robotic henchman in someone else's plots, such as in its final Universal film appearance in the deliberately farcical Abbott and Costello Meet Frankenstein Karloff would return to the wearing of the makeup and to the role of the Monster one last time in the TV show Route 66 in the early s.
The make-up for Herman is based on the make-up of Boris Karloff. Mel Brooks's comedy Young Frankenstein parodied elements of the first three Universal Frankenstein movies. Brooks also recreated the movie into a musical of the same name. Although Frankenstein's hunchbacked assistant is often referred to as "Igor" in descriptions of the films, this is incorrect.
In both Frankenstein and Bride of Frankenstein, Frankenstein has an assistant who is played both times by Dwight Frye who is crippled. In the original film the character is named "Fritz" who is hunchbacked and walks with the aid of a small cane. In Bride of Frankenstein, Frye plays "Karl" a murderer who stands upright but has a lumbering metal brace on both legs that can be heard clicking loudly with every step.
Both characters would be killed by Karloff's monster in their respective films. It was not until Son of Frankenstein that a character called "Ygor" first appears here played by Bela Lugosi and revived by Lugosi in the Ghost of Frankenstein after his apparent murder in Son of Frankenstein. This character — a deranged blacksmith whose neck and back are broken and twisted due to a botched hanging — befriends the monster and later helps Dr. Wolf Frankenstein, leading to the "hunchbacked assistant" called "Igor" commonly associated with Frankenstein in pop culture.
Cash told Mangold that his favorite film was Frankenstein. Cash explained that the idea of a gentle figure being mistaken for a monster spoke to him at a personal level. It is the only copy known to exist. More specifically, the monster's reactions to its first moments of life, is paralleled in the Doctor's regeneration after he is pronounced dead. In the series episode "The First", many of the actual props from the movie utilized as Dr. Clive's laboratory equipment which was used to resurrect the "Evil Hulk," played by Dick Durrock.
Furthermore, some of the characters of the episode were named after the actors of the Frankenstein film, such as "Clive," "Frye," and "Elizabeth. Murnau, starring Max Schreck as the vampire Count Orlok. The film, shot in and released in , was an unauthorized adaptation of Bram Stoker's Dracula, with names and other details changed because the studio could not obtain the rights to the novel for instance, "vampire" became "Nosferatu" and "Count Dracula" became "Count Orlok".
His employer, Knock loosely based on Renfield , sends Hutter to Transylvania to visit a new client named Orlok. Hutter entrusts his loving wife Ellen to his good friend Harding and Harding's sister Ruth, before embarking on his long journey. Nearing his destination in the Carpathian mountains, Hutter stops at an inn for dinner.
The locals become frightened by the mere mention of Orlok's name and discourage him from traveling to his castle at night, warning of a werewolf on the prowl. In his room, Hutter finds a book, The Book of the Vampires, through which he leafs before falling asleep. The next morning, Hutter dresses and packs, light-heartedly including the book in his bags. After a coach ride to a high mountain pass, the coachmen decline to take him any further as nightfall is approaching.
A sinister black swathed coach of an archaic design suddenly appears and the coachman obviously Orlock in disguise gestures for him to climb aboard. Past midnight, Hutter is welcomed at the castle by Count Orlok himself, who excuses the poor welcome as the servants have all gone to bed.
While Hutter has a late dinner, Orlok reads a letter. When Hutter cuts his thumb, Orlok tries to suck the blood out of the wound, but his repulsed guest pulls his hand away. Hutter then falls asleep exhausted in the parlor. He wakes up to an empty castle and notices fresh punctures on his neck, which he attributes to mosquitoes.
That night, Orlok signs the documents to purchase the house across from Hutter's own home. Orlok sees Hutter's miniature portrait of his wife and admires her beautiful neck. He cowers in his room as midnight approaches, but there is no way to bar the door. The door opens by itself and Orlok enters, his true nature finally revealed. At the same time, Ellen sleepwalks and screams for Hutter. She is somehow heard by Orlok, who leaves Hutter untouched. The next day, Hutter explores the castle.
In its crypt, he finds the coffin in which Orlok is resting dormant. Horrified, he dashes back to his room. From the window, he sees Orlok piling up coffins on a coach and climbing into the last one before the coach departs. Hutter escapes the castle through the window by tying together strips of the bed linen, but has to jump when his improvised rope runs out, and is knocked unconscious by the fall.
He is taken to a hospital. When he is sufficiently recovered, Hutter hurries home. Meanwhile, the coffins are shipped down river on a raft. They are transferred to a schooner, but not before one is opened by the crew. Inside, they find soil and rats. Under the long-distance influence of Orlok, Knock starts behaving oddly and is confined to a psychiatric ward. Later, Knock steals a newspaper, which tells of an outbreak of an unknown plague spreading down the coast of the Black Sea. Many people are dying, with odd marks on their necks. Knock rejoices. The sailors on the ship get sick one by one; soon all but the captain and first mate are dead.
Suspecting the truth, the first mate goes below to destroy the coffins. However, Orlok awakens and the horrified sailor jumps into the sea. Unaware of his danger, the captain becomes Orlok's latest victim. When the ship arrives in Wisborg, Orlok leaves unobserved, carrying one of his coffins. A passage in The Book of the Vampires reveals that the source of a vampire's power is the soil in which he was buried.
He moves into the house he purchased. The next morning, when the ship is inspected, the captain is found dead. After examining the logbook, the doctors assume they are dealing with the plague. The town is stricken with panic. Hutter returns home. Ellen reads The Book of Vampires, despite his injunction not to, and learns how to kill a vampire: a woman pure in heart must willingly give her blood to him, so that he loses track of time until the cock's first crowing. There are many deaths in the town. The residents chase Knock, who has escaped after murdering the warden, mistaking him for a vampire.
- Be afraid.... be very afraid....
- I Love Our Boston Terriers (Owners Share Their Favorite Bostie Photos Book 2).
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Orlok stares from his window at the sleeping Ellen. She opens her window to invite him in, but faints. When Hutter revives her, she sends him to fetch Professor Bulwer. After he leaves, Orlok comes in. He becomes so engrossed drinking her blood, he forgets about the coming day. A rooster crows and Orlok vanishes in a bit of smoke as he tries to flee marking the first death by sunlight in the history of vampire fiction. Ellen lives just long enough to be embraced by her grief-stricken husband. The last image of the movie is of Orlok's ruined castle in the Carpathian Mountains. Hutter's departure from Wisborg was filmed in Heiligen-Geist-Kirche's yard in Wismar; this photograph is from Grau had the idea to shoot a vampire film; the inspiration arose from Grau's war experience: in the winter of , a Serbian farmer told him that his father was a vampire and one of the Undead.
Diekmann and Grau gave Henrik Galeen the task to write a screenplay inspired from Bram Stoker's novel Dracula, despite Prana Film not having obtained the film rights. Galeen set the story in a fictional north German harbour town named Wisborg and changed the character names. He added the idea of the vampire bringing the plague to Wisborg via rats on the ship. He left out the Van Helsing vampire hunter character.
Galeen's Expressionist style screenplay was poetically rhythmic, without being so dismembered as other books influenced by literary Expressionism, such as those by Carl Mayer. Lotte Eisner described Galeen's screenplay as "voll Poesie, voll Rhythmus" "full of poetry, full of rhythm".
Filming began in July , with exterior shots in Wismar. A take from Marienkirche's tower over Wismar marketplace with the Wasserkunst Wismar served as the establishing shot for the Wisborg scene. Other locations were the Wassertor, the Heiligen-Geist-Kirche yard and the harbour. Further exterior shots followed in Lauenburg, Rostock and on Sylt. The film team traveled to the Carpathian Mountains, where Orava Castle served as backdrop for Orlok's half-ruined castle. Parts of the film set in Transylvania were also shot in Slovakia. For cost reasons, cameraman Fritz Arno Wagner only had one camera available, and therefore there was only one original negative.
The director followed Galeen's screenplay carefully, following handwritten instructions on camera positioning, lighting, and related matters. Nevertheless Murnau completely rewrote 12 pages of the script, as Galeen's text was missing from the director's working script. This concerned the last scene of the film, in which Ellen sacrifices herself and the vampire dies in the first rays of the Sun. Murnau prepared carefully; there were sketches that were to correspond exactly to each filmed scene, and he used a metronome to control the pace of the acting.
This was planned as a large society evening entitled Das Fest des Nosferatu Festival of Nosferatu , and guests were asked to arrive dressed in Biedermeier costume. The cinema premiere itself took place on 15 March at Berlin's Primus-Palast. The Premiere reviewers generally praised the film with some occasionally complaining that the technically perfect and brightly-lit images detracted from the unworldly horror theme. Der Film, a Berlin film magazine, praised the technical quality and the believability of Schreck's portrayal of the vampire, but also felt that his form would have had a greater effect had it been shown more in silhouette.
The story of Nosferatu is similar to that of Dracula and retains the core characters—Jonathan and Mina Harker, the Count, etc. The setting has been transferred from Britain in the s to Germany in In contrast to Dracula, Orlok does not create other vampires, but kills his victims, causing the townfolk to blame the plague, which ravages the city.
Also, Orlok must sleep by day, as sunlight would kill him.
The ending is also substantially different from that of Dracula. The count is ultimately destroyed at sunrise when the "Mina" character sacrifices herself to him. This was the first and last Prana Film; the company declared bankruptcy after Bram Stoker's estate, acting for his widow, Florence Stoker, sued for copyright infringement and won.
The court ordered all existing prints of Nosferatu destroyed, but copies of the film had already been distributed around the world. These prints were duplicated over the year. With the influence of producer and production designer Albin Grau, the film established one of two main depictions of film vampires. The "Nosferatu-type" is a living corpse with rodent features especially elongated fingernails and incisors , associated with rats and plague, and neither charming nor erotic but rather totally repugnant. The victims usually die and are not turned into vampires themselves.
The more common archetype is the "Dracula-type" established by Bela Lugosi's version of Dracula and perpetuated by Christopher Lee , a charming aristocrat adept at seduction and whose bite turns his victims into new vampires. A more universal effect of the film is less obvious: the ending of Nosferatu single-handedly created the concept that vampires can be physically harmed by sunlight.
While this was a common element of many other mythical creatures, pre-Nosferatu vampires disliked but could endure daylight for instance, a part in the original Dracula novel shows its count in a London street by day. Since Nosferatu's release, the vampire legends have quickly incorporated the idea of fearing, or being destroyed by, the sun.
Murnau's Nosferatu is in the public domain in the United States but not in Germany, and copies of the movie are widely available on video usually as poorly transferred, faded, scratched video copies that are often scorned by enthusiasts. However, pristine restored editions of the film have also been made available, and are also readily accessible to the public. The movie has received not only a strong cult following, but also has received overwhelmingly positive reviews, including being cited as the best of all the adaptations of Dracula.
On Rottentomatoes. Aaron Copland's ballet Grohg unpublished and unpremiered until used Nosferatu as the physical model for the lead character and roughly follows the storyline. Hugh Cornwell of the Stranglers and Robert Williams recorded an album Nosferatu as a 'soundtrack' to the film, dedicted to the memory of Max Schreck, it was released in The front cover was a still from the film. The television movie Salem's Lot modeled the appearance of Mr. Barlow on that of Count Orlok. A Hollywood movie called Shadow of the Vampire told a secret history of the making of Nosferatu, imagining that actor Max Schreck played by Willem Dafoe was actually a genuine vampire, and that director F.
Murnau John Malkovich was complicit in hiring the creature for the purpose of realism. The Return of the Living Dead is a American zombie comedy film that was followed by several sequels. The film tells the story of how three men accompanied by a group of teenage punks deal with the accidental release of a horde of brain hungry zombies onto an unsuspecting town. The film is also known for its soundtrack, which features several noted deathrock and punk rock bands of the era.
The film was a critical success and performed moderately well at the box office. It also spawned four sequels. At the Uneeda medical supply warehouse in Louisville, Kentucky, a bumbling foreman named Frank tries to impress the company's newest employee, Freddy, by showing him a large drum containing the mummified remains of a U.
However, Frank accidentally unleashes a toxic gas as well as the corpse inside the barrel, setting off a chain reaction that subsequently leads to reanimated dead bodies rising from the ground in the cemetery next to the warehouse. As Frank and Freddy grow increasingly ill due to their direct exposure to the gas, Freddy's friends, their boss Burt and a mortician named Ernie spend the night fighting for their lives against a swarm of fast, unstoppable and surprisingly clever brain-eating zombies.
When Russo and George A. Romero parted ways after their film Night of the Living Dead, Russo retained the rights to any titles featuring Living Dead while Romero was free to create his own series of sequels, beginning with Dawn of the Dead. Dan O'Bannon was brought in to give the script a polish and after Hooper backed out to make Lifeforce also from a script by Dan O'Bannon , O'Bannon was offered the director's seat. He accepted on the condition he could rewrite the film radically so as to differentiate it from Romero's films.
Russo retains a story writer credit on the film for developing the project, but the final film bears little to no resemblance to his original novel. He later wrote a novelization of the film which was fairly faithful to the shooting script, though without the character names as in the final film and the addition of a KGB sublot as an explanation for the plot. Russo would, eventually, make his own 'canon' series with a revised edition of Night of the Living Dead, subtitled the 30th Anniversary Edition, and its sequel, Children of the Living Dead.
O'Bannon's script also differed from the Romero series in that it is markedly more comedy based than Romero's films, employing "splatstick" style morbid humor and eccentric dialogue. The films also boasted significant nudity, in marked contrast to Romero's work. Russo and O'Bannon were only directly involved with the first film in the series. The rest of the films, to varying degrees, stick to their outline and "rules" established in the first film. Although the movie is set in Louisville, Kentucky, it was filmed in California. The Louisville police uniforms and patrol cars were all period correct which means the studio had to obtain permission from the Louisville city government to use the Louisville police department emblem.
Neither the Louisville police nor the city of Louisville received any acknowledgement in the end credits. This character launched Tony Gardner's career as an independent makeup effects artist. Creepshow is a American horror-comedy anthology film directed by George A. Marshall and Ed Harris. The film was shot on location in Pittsburgh and the suburb areas. The segments are tied together with brief animated sequences. The film is bookended by scenes, featuring a young boy named Billy played by Stephen King's own son, Joe King , who is punished by his father for reading horror comics.
The film is an homage to the E. In later years, the international rights of the film would be acquired by Republic Pictures, which today is a subsidiary of the Paramount Motion Pictures Group, itself owned by Viacom. The film's UK rights are owned by Universal Studios. A young boy named Billy Joe King gets yelled at and slapped by his father, Stan Tom Atkins , for reading a horror comic titled Creepshow. His father tosses the comic in the garbage to teach Billy a lesson, but not before threatening to spank him should Billy ever get caught reading Creepshow comic books again.
Later after he tosses the comic book away, Stan reminds his wife Iva Jean Saraceni that he had to be hard on Billy because he cannot believe all the "crap" that's in the book. He closes out the discussion with the reason why God made fathers: to protect their ways of life and their children.
As Billy sits upstairs hating his father, he hears a sound at the window, which turns out to be a ghostly apparition, beckoning him to come closer. Seven years ago, an elderly patriarch named Nathan Grantham Jon Lormer was killed on Father's Day by his daughter Bedelia Viveca Lindfors , gone mad from the murder of her husband which Nathan orchestrated. Bedelia bashed her father in the head with a marble ashtray as he screamed for his cake. Third Sunday of June, seven years later, his ungrateful, money-grubbing relatives, including Aunt Bedelia now taken to drinking , get together for their annual dinner on Father's Day.
Nathan Grantham comes back as a revenant to get the cake he never got, and kills off his relatives one by one. Second story, originally titled "Weeds", adapted from a previously published short story written by King. Richard Vickers Leslie Nielsen , a coldblooded, wealthy husband, stages a terrible fate for his unfaithful wife, Becky Gaylen Ross and her lover, Harry Wentworth Ted Danson by burying them up to their necks on the beach, below the high tide line.
He sets up closed-circut TV cameras so the lovers can watch each other die. Richard is in for a surprise of his own when the people he murdered return as waterlogged, seaweed-covered zombies intent on getting revenge of their own. A mysterious, extremely lethal creature is unwittingly released from its crate in this suspenseful and gory monster story. Hal Holbrook stars as mild-mannered college professor Henry Northrup, who sees the creature as a way to rid himself of his drunk, uncouth, and emotionally abusive wife, Wilma Adrienne Barbeau.
The monster in the crate was nicknamed "Fluffy" by the film's director, George A. Upson Pratt E. Marshall is a cruel, ruthless businessman whose mysophobia has him living in a hermetically sealed apartment, but finds himself helpless when his apartment becomes overrun by endless hordes of cockroaches. The following morning, two garbage collectors Tom Savini and Marty Schiff find the Creepshow comic in the trash.
They look at the ads in the book for X-ray specs, a Charles Atlas bodybuilding course. They also see an advertisment for a voodoo doll, but lament that the order form has already been redeemed. Inside the house, Stan complains of neck pain, which escalates as Billy repeatedly jabs the voodoo doll while Stan screams in agony.
The film boasts one or two ongoing gimmicks for attentive viewers. A popular example would be that the murder weapon from the first story, an ornate marble ashtray, appears in each of the subsequent stories. Creepshow was given a wide release on November 12, Creepshow received positive reviews from critics. Roger Ebert gave the film three out of four stars and wrote, "Romero and King have approached this movie with humor and affection, as well as with an appreciation of the macabre".
In his review for the New York Times, Vincent Canby wrote, "The best things about Creepshow are its carefully simulated comic-book tackiness and the gusto with which some good actors assume silly positions. Horror film purists may object to the levity even though failed, as a lot of it is". Gary Arnold, in his review for the Washington Post, wrote, "What one confronts in Creepshow is five consistently stale, derivative horror vignettes of various lengths and defects". In his review for the Globe and Mail, Jay Scott wrote, "The Romero-King collaboration has softened both the horror and the cynicism, but not by enough to betray the sources - Creepshow is almost as funny and as horrible as the filmmakers would clearly love it to be".
David Ansen, in his review for Newsweek, wrote, "For anyone over 12 there's not much pleasure to be had watching two masters of horror deliberately working beneath themselves. Creepshow is a faux naif horror film: too arch to be truly scary, too elemental to succeed as satire". In his review for Time, Richard Corliss wrote, "But the treatment manages to be both perfunctory and languid; the jolts can be predicted by any ten-year-old with a stop watch.
Only the story in which Evil Plutocrat E. Marshall is eaten alive by cockroaches mixes giggles and grue in the right measure". The film was adapted into an actual comic book of the same name soon after the film's release, illustrated by Bernie Wrightson, an artist fittingly influenced by the s E. A sequel, Creepshow 2 was released in , and was once again based on Stephen King short stories with a screenplay from Creepshow director George A. The film contained only three tales of horror, as opposed to the original's five stories. Romero, or anyone else involved in the production of the first two films, was released direct-to-video in though it was finished in to mostly negative reviews.
This film, in a fashion similar to the original Creepshow, features five short darkly comedic horror stories. The company behind the film was Taurus Entertainment, also responsible for the in-name-only Romero sequel, Day of the Dead 2: Contagium, a follow-up to 's Day of the Dead. Several screenshots from the film, demonstrating the way comic book imagery and effects were used extensively by director George Romero to recreate the feel of classic 's E.
The moderate success of Creepshow sparked interest in a television series in the same mold. After a few changes, Laurel Productions renamed the television version Tales from the Darkside, which lasted four years — The series spawned a film adaptation very similar to Creepshow, entitled Tales from the Darkside: The Movie , directed by Creepshow composer John Harrison. The TV series was followed by a virtually identical series named Monsters, which lasted another three years — Warner Bros.
The pilot was directed by Wilmer Valderrama and features Michael Madsen. Still shots from the filming can be found at genre news site, Bloody-Disgusting. The film was produced by Universal and is based on the stage play of the same name by Hamilton Deane and John L. Balderston, which in turn is based on the novel Dracula by Bram Stoker. Arriving there safely before sundown, Renfield refuses to stay at the inn and asks the driver to take him to the Borgo Pass. The innkeeper's wife gives Renfield a crucifix for protection before he leaves for Borgo Pass, whence he is driven to the castle by Dracula's coach, which was awaiting him at Borgo Pass, with Dracula himself disguised as the driver.
During the bumpy ride, Renfield leans out and starts to ask the driver to slow down, but is startled to see that the driver has disappeared, and a bat is leading the horses. Renfield expresses concern about the strange disappearance of the coach driver and his luggage, but Dracula assures him that he has arranged to have his luggage delivered. They discuss Dracula's intention to lease Carfax Abbey in England, where he intends to travel the next day.
Dracula then leaves and Renfield goes to his bedroom. Ceauescu was a nobody, intellectually and as a personality. And till his end, he liked to eat his meals with his fingers. As a tentative summary a relatively simple conclusion can be drawn.
Frankenstein and Bride
The glorification of historical figures, so familiar to us all, is only one side of the same coin, whose reverse is monstrification. Both aspects are an integral part of what we call in common language historiography. In the last instance heroes and monsters are eventually made of the same stuff, human phantasy. Notes Carol Roman, Ultimele de zile nefaste.
100 - Max Schreck
Eine Biographie Berlin: Links, , Vom Jahrhundert bis in die Gegenwart Regensburg: Pustet, , One should not forget that this withdrawal was nothing more than the result of the absolute stalinistic policy Ceauescus predecessor Gheorghe Gheorghiu-Dej followed between and It was a sign of confidence into the future course of Romanian communism, not the result of a policy of independence. An Annotated Bibliography, compiled by Opritsa D. Popa and Marguerite E. In the years between and , 20 books about lifetime and leadership of Nicolae Ceauescu have been published, 9 of them between and In , a German court sentenced him to one year and nine months suspended jail for racist incitement of the masses.
This chapter is called Foreword! What a dramatic opening! Just a detail is the fact that in Siegerists book nearly no Romanian name is correctly written. The author could not have any deeper interest in the country or its inhabitants he was only on his search for the crimes of a communist madman. The photo and its manipulative text are used by Siegerist as a piece of evidence for the murder. On one of the photos p. Two of them are defined by Siegerist as lunatics p.
On nearly the half of all photos of the book, the author is doing something or showing something. In one case he holds a bone of a pretended victim into the lens of the camera! Eine Reise, in Der Sturz des Tyrannen. Rumnien und das Ende einer Diktatur, ed. Phnomen der Macht Vienna: Ueberreuter, , The only sign for a pretended Tataric, Gypsy or even Turkish origin of Ceauescu is the original source of his name. The word ceau is an Ottoman word meaning courier on horseback. In the extended version for the hard-copy book, I will present concrete examples taken from my own collection of German, French and English newspapers.
Bibliography Ceauescus Romania. An Annotated Bibliography. Compiled by Opritsa D. Die grten Tyrannen und Despoten der Weltgeschichte. Vienna: Tosa, In den sten der Bume hngen Krnze. Eine Reise. In Der Sturz des Tyrannen. Reinbek: Rowohlt, Gabanyi, Anneli Ute. Die unvollendete Revolution. Rumnien zwischen Diktatur und Demokratie. Kunze, Thomas. Nicolae Ceauescu. Eine Biographie. Berlin: Links, Olschewski, Malte. Der Conductor Nicolae Ceauescu. Phnomen der Macht. Vienna: Ueberreuter, Pacepa, Ion Mihai.
Red Horizons. Washington, D. Roman, Carol. Ultimele de zile nefaste. Sfritul clicii Ceauescu. Siegerist, Joachim. Ceauescu - Der rote Vampir. Willy Brandt - Das Ende einer Legende. Bremen: Moritz Deter GmbH, 11th edition, Verseck, Keno. Munich: Beck, Vlkl, Ekkehard. Jahrhundert bis in die Gegenwart. Regensburg: Pustet, Nazi Demons and Sicilian Monsters. The story is simple: a group of bandits went to a farm to commit a robbery. Recognized, they knocked the farmers unconscious with large wooden sticks. The victims, including a child and an old woman, were then pushed down a well where they died miserably.
Public opinion condemned the killers as monsters. Certainly the number of victims, their age and manner of death, were quite dramatic; yet there may have been other reasons for declaring this crime particularly monstrous. The Sicilian and thus foreign origins of the killers were an enormous factor. The people of entire villages were executed in manners sometimes much crueller than the murders of Villarbasse. The public reaction to the Villarbasse crime, so soon after the war, raises questions about how the spotting and public execution of monsters aims at restoring a community in crisis.
Killing monsters supposedly returns a community to an earlier imagined coherence, just as new and threatening changes loom upon it. Keywords Monsters, Italy, Second World War, catharsis, reburial Today I will be talking about a group of Sicilian bandits who were executed in for a crime they committed in Piedmont in , just after the war. I will first of all describe the circumstances of their crime, which provoked enormous public outcry and led people to ask for the death penalty although capital punishment was in the process of being abolished.
Ill explain the ways these bandits came to be seen as monsters and how this case fits within my understanding of traditional monster paradigms. I hope that the points I raise will be supported and challenged in later papers at this conference, and that through this case I can begin to lay out some defining points relating to monsters, at least of the threatening, violent kind.
The crime went as follows: On a dark night in November , four thieves made their way into a farmhouse in the rural town of Villarbasse, in Piedmont. They came into the house carrying large sticks. All of a sudden one of the women recognized the voice of one of the bandits, who had been a temporary farm worker at the farm the previous summer. What had started as a mere thievery ended in bloodshed, as the bandits clobbered all ten people, including an old woman and a young boy, into unconsciousness and then pushed them into a well, their hands tied with metal yarn, their feet loaded down by cement bricks.
Only a two-year-old child was left alive and was found crying in his crib the next day, in the desolate house, when people came to the farm and found that everyone was gone, vanished, or- as they said- taken away by the devil. The bodies were found in the well, swollen and disfigured, eight days later. It became clear from the autopsy that most of them had not died from the blows but died a slow death by suffocation in the well, conscious of their miserable fate, and unable to ask for help.
Before I go into the monstrosity of this crime, which is of course quite horrible, we should look back on the last two years of the war and its immediate aftermath in Piedmont. After Mussolini fell, in , a temporary Italian government declared an armistice with the Allied forces. Following the armistice the Nazis occupied Northern Italy and reinstated Mussolini as a puppet governor of the fascist Republic of Sal. A civil war ensued in occupied Italy when anti-fascist forces began guerrilla-type warfare and sabotage against the Nazi-fascists.
Dissidents were arrested in mass, tortured and sent to concentration camps in Poland and Germany. Many were simply executed in the streets, left hanging from bridges and houses, with signs warning against rebellion1. Whenever a German was killed, ten Italian civilians would be publicly executed.
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In some areas of Piedmont not far from Villarbasse, entire villages were exterminated in Nazi retaliation2. On and right after liberation day- the 25 April fascist political figures were dragged into the streets, beaten and lynched. Giuseppe Solaro, the commissar of the Republican Fascist Party in Turin was hanged twice, his body mutilated and exposed on a truck along the streets of Turin where it was met by cheering crowds; it was then thrown into the Po river and shot at for sport in a competition from the Isabella Bridge. It is therefore somewhat surprising that the Villarbasse crime, for all its brutality and violence, managed nevertheless to incite such horror.
Or is it? Perhaps considering the crime in light of traditional notions of the monster and the cathartic purposes that. Let us now look at our monsters. They were illiterate and had led a life of petty crime, wandering regularly between Northern and Southern Italy. They qualified as monsters in three ways: 1 They showed no respect for the dead bodies of their victims 2 They seemed to express no regret after the fact, and thus exacerbated the public outcry against them 3 They were outsiders.
I will now briefly develop these three points to provide a further picture of the Villarbasse case and the meanings of its resolution, while also pointing to more general notions of the monstrous. A monster could be defined as a being that mostly lives outside of human communities that kills and doesnt have respect for the human body after it is dead. Katherine Verdery in her book The Political Lives of Dead Bodies4, points out that all human communities have ideas and practices concerning what constitutes a good death, how dead people should be treated and what will happen if they are not properly cared for.
Mythological monsters might consume their victims, eating them and leaving their bones on the floor of their caves; Human monsters will disfigure the bodies of the dead and, as in the Villarbasse case, try to hide their deed by improperly burying them. It is almost a clich of the serial killer to leave body parts improperly buried in suitcases, refrigerators and floorboards. The killers of Villarbasse were seen as monsters not so much for the fact that they killed, but for the way had clobbered the bodies of their victims, disfigured them and left them hanging horridly in the well.
In their complete disregard for the human body, they marked themselves as outside of the human community. The second point, which marked the Villarbasse killers as monsters was their lack of guilt for what they had done, seen as particularly disturbing since they had killed unarmed men and women, a young boy and an old lady. During their trial they bragged about their crime and used the verb abbattere to put down rather than uccidere to kill when describing how they had killed their victims. This linguistic detail was used to point out how the killers didnt really consider their victims human, and how they cold-bloodedly put them down like animals.
One detail really struck the jury: after the crime, the killers had feasted on salami, which they stole from the farm. Renzo Rossotti recalls the detail of them eating salami like hungry beasts. They hands stained by blood, all that blood5. Literary critic Joseph Andriano has suggested.
Full text of "Famous Monsters of Filmland Aug (c2c) (Teachbug Sprout DREGS)"
The image of the killers devouring salami after the murders was not just a trivial detail but contributed to their depiction as monsters. They had cold bloodedly put down their victims with sticks; they had the earth consume them by burying them alive in the dark mouth of the well where they died, and they then went on to gorge themselves on the bloody meat of dead pigs. The final sentence of the judge was Finally, but perhaps most importantly, a key factor, which contributed to the Villarbasse killers being executed as monsters was their otherness.
One of the killers, Puleo, even yelled out at the end of the trial: They are killing us because we are Sicilian! Long before the bodies had been found and before an incriminating jacket had pointed to Palermo, locals were sure that those who had taken away the people from the farm had to have come from outside.
They continually tried to incriminate a man called Carmelo, a migrant worker from Calabria, who lived near Villarbasse at harvest time. Though completely innocent, Carmelo was almost lynched by an angry mob. Those who were found guilty in the end also lived a life at the periphery of society, moving up and down the Italian peninsula, so that one of the killers was nicknamed u turista-the tourist. In his book on Monsters David Gilmore identifies monsters as outsiders.
He writes: In every cultural tradition, monsters are said to live in borderline places, inhabiting an outside dimension that is apart from, but parallel to and intersecting the human community. As Katherine Verdery convincingly shows in her discussion of Serbian and Croat reburials in the late s9, reburial is often a deeply political act in which new boundaries between the us of the wronged victims get counter posed to the them of the enemy-other.
Key to the identification of the murderers of Villarbasse as monsters before the actual culprits were found was the discovery of the dead bodies in the well, their filmed and sensationalized extraction from the cold dark place they died in, and their reburial. This reburial, produced outrage in the newly defined community, whose boundaries were threatened by a force that showed no respect for the dead, no regret or shame for its deeds, and must have been clearly foreign and other.
As mentioned above, the spotting of monsters necessarily also results in defining them as outside of human communities, since, by definition, their monstrosity is based on their lack of humanity. The finger pointing of a monster therefore also defines the borders of human community, and reasserts the humanity of those whose outrage is triggered by the monstrous deeds they have witnessed.
Wilfrida Ann Mully10 suggests that monsters are: phantastic images which occur to individuals by which the self experiences itself as lacking humanity, as unnaturally evil, stupid, or ill. I realize that it is highly problematic to extend this psychoanalytic interpretation that Mully applies to individual patients, onto a society as a whole, or onto a region.
Perhaps the Villarbasse killers would have been seen as monsters regardless of the time or place in which they committed their crimes. It does seem plausible, however, to ascribe some level of unconscious behavior to groups, particularly at times of great collective trauma such as the period immediately following a war of the extent and brutality of the Second World War. If we are to accept this view, however problematic, the spotting and execution of the Villarbasse monsters can be seen as deeply cathartic for the region.
This catharsis depends on the projection of the communitys evil self, lack of humanity and illness, onto the monsters. To further this point I will bring to your attention two filmed events, which provoked diametrically opposite responses in audiences around the North of Italy. The first is the filmed extraction of the swollen and disfigured Villarbasse bodies emerging upside down from the well, shown in a film made by the American occupying forces in the early days of the enquiry into the killings, which caused great horror and outrage.
The other is the filmed desecration of the bodies of Mussolini11 and his lover Claretta Petacci shown just months before hanging from a gas station post in Piazzale Loreto, in Milan, which marked the symbolic end of the war and was, with some notable exceptions, received with jubilance.
An angry crowd had pushed past resistance security forces and maimed and disfigured the dead bodies of the dictator and his lover, kicking in their faces. These two disfigurements and the brutal violence and lack of humanity that goes with the desecration of bodies do not, however, figure in the same symbolic plane. Remarkably, through the reburial of the wronged Villarbasse victims, a peaceful farmstead exterminated in the midst of ordinary life, those who may have accepted Mussolinis disfigurement at the end of the war were restored their humanity by their.
As David Gilmore writes, in his book on Monsters The power of monsters is their ability to fuse opposites, to merge contraries, to subvert rules, to overthrow cognitive barriers, moral distinctions and ontological categories. Monsters overcome the barrier of time itself. Uniting past and present, demonic and divine, guilt and conscience, predator and prey, parent and child, self and alien, our monsters are our innermost selves.
To slay the monsters was also a way of exorcising the demons of the war still hiding in ordinary life. When the maimed bodies were pulled out of the well, upside down, their faces swollen and marked by the blows they received before dying, the specters of the war and its many victims were bound to make themselves heard in public conscience.
To continue with David Gilmores analysis of monsters: For most western observers the monster is a metaphor for all that must be repudiated by the human spirit. It embodies the existential threat to social life, the chaos, atavism, and negativism that symbolize destructiveness and all other obstacles to order and progress, all that which defeats, destroys, draws back, undermines, subverts the human project.
This evil was at once foreign and we can see a kind of overlap between the foreignness of the Sicilian monsters and the Nazis and from within the evil of fascist participation, of civil war, and implied in the brutality of the immediate post-war months. We were coming out of the ruins, especially the moral ruins, of the war, and we were still trembling.
Such an enormous crime That sentence was a way of changing, of turning a page. With good peace to those dead, for the hope of those who were growing, and entering into life. Yet this monster slaying occurs while- and perhaps because- the community feels under threat by other unknown forces. New changes, new strangers are thought to loom upon it. Reality remains unsettled and frightening as ghosts and demons continue to make themselves felt from a darkness deeper than the well at Villarbasse. Una guida per la memoria Turin: Istituto Piemontese per la storia della resistenza e della societ contemporanea, , ; see also the website comment by his daughter Franca Solaro Giuseppe Solaro, ultimo federale di Torino.
Cinquantenario della tragica morte. Il ricordo di Franca, LUltima Crociata, no. For practical reasons this paper will only discuss his dead body.
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Bibliography Andriano, Joseph. Westport Conn. Gilmore, David. Philadelphia: University of Pennsylvania Press, Jackson, Rosemary. Fantasy-The Literature of Subversion. London: Methuen, Lamb, Richard. War in Italy A Brutal Story. London: Murray, Rossotti, Renzo. Villarbasse Cascina Fatale. Turin: Editrice Il Punto, Solaro, Franca. Giuseppe Solaro, ultimo federale di Torino. Il ricordo di Franca. LUltima Crociata. Una guida per la memoria. Turin: Istituto Piemontese per la storia della resistenza e della societ contemporanea, Verdery, Katherine.
The Political Lives of Dead Bodies. Reburial and Postsocialist Change. New York: Columbia University Press, Abstract When the literary critics talk about Latin America , usually they focus the attention on a limited group of books. This group is usually included in an ambiguous category called Magical Realism. This has produced horrible generalizations.
In fact, many literature theoreticians suppose that any supernatural event in a plot written by a Latin American author is Magical Realism without doubt. They forget that there already exist better ways to approach a novel or a story. There are many monsters in the Literature of Latin America. It is possible to find some of them in the pre-Columbian oral traditions or in the legends during the Spanish domination or even in the Literature for children and teenagers.
And monsters also exist in the plots of the Contemporary Literature for adults. In Ecuador there is a pioneering book that appeared in the 90's: Profundo en la Galaxia, by Santiago Pez. In spite of the fact that it got excellent critics, the book is almost unknown abroad. Monsters of different types appear in Pezs stories, which are a strange mix between the science of the West and the Andean tradition. For the first time in Ecuadorian Contemporary Literature it is possible to find a monster from the afroEcuadorian oral tradition. It is a unique creature: it seems to generate a bizarre psychological fear.
At the same time, it seems to incarnate prejudices and ignorance. I am going to evaluate the monsters in Ecuadorian Literature, with special attention to the stories of Santiago Pez and Adalberto Ortiz. I would like to prove with my dissertation that in the Andean countries it is possible to write Fantastic Literature of a high level that it is not necessarily Magical Realism.
Keywords Myth, science, prejudice, Ecuador, African creatures, magical realism When the literary critics in general talk about Latin America, they often focus their attention on a limited number of books. In fact, many theoreticians suppose that any supernatural event in a plot written by a Latin American author is Magical Realism without doubt.
They forget that there already exist better ways to approach a novel or a story with certain supernatural traits. In Ecuador there is a pioneering book: Profundo en la galaxia by Santiago Pez. In spite of the fact that it got excellent reviews, the book is almost unknown abroad. I am going to focus on one specific plot: Yachak. Another text that deserves special attention is La entundada , by the Ecuadorian Adalberto Ortiz.
Maybe for the first time in Ecuadorian Contemporary Literature it is possible to find a monster from the afro-Ecuadorian oral tradition. And finally, I would like to show that in the Andean countries it is possible to write Fantastic Literature that it is not necessarily Magical Realism. But what is authentically the Magical Realism? The response is difficult. For the present study we use the categories proposed by Enrique Anderson Imbert in the book The Magical Realism and other essays At the same time, Introduccin a la Literatura Fantstica , by Tzvetan Todorov, is extremely helpful for an approach to the area of Fantastic Literature.
Yachak, a story of monsters in continual mutation. The term yachak designates a wise person of the Andes. A yachak consults nature, sees partially the future, diagnoses with the help of cuyes guinea pigs and cure illnesses. Nowadays he is still an essential authority inside the Andean communities. There is an equivalent category: the shaman. The only difference is that the shaman is the wizard of the jungle. In this short story, the old yachak Jos Snchez wakes up one night because he feels a sickness in Pachamama the Mother Earth. The nature shows strange symptoms. His son, Lluntu, is a beginner of yachak and sleeps in the same hut.
Both decide to go to the waterfall of Peguche to ask the stones for advice. A parallel story is narrated: a space ship out of control looks for a planet to land. The monsters the crew members of the ship are the TSKZZ, from the planet of Orkyyun:  they were creatures in continual mutation. The voice was going out from the feet when his brain was located in one of his eight tubular extremities, or from the green bulbous body, when his mind was resting in it. Their space ships, for example, are a mixture of alive creatures and mechanical gadgets.
Everything is accuracy and harmony on their planet. But there is something that produces a complete chaos in the society: the fear. When the inhabitants of Orkyyun are dominated by fear, everything is lost. In case of this story, the space ship is looking for a place to land. There is fear in its occupants and fear in the own ship. In fact, when the word fear is mentioned in the story, it appears in capital letters.
The inhabitants of the planet of Orkyyun know that they are going to die. Meanwhile, the old Jos Snchez starts his ritual and asks for the illness of Pachamama. The nature answers with signs. Lluntu, the son, prefers not to go because at night there is a mal aire a. After the insistence of the father, Lluntu leaves. The old yachak, close to the waterfall of Peguche, protects his son, who finally obtains the stone and purifies it blowing spirit alcohol over it. Lluntu manages to return with the brilliant stone to his father.
The yachak examines the stone and finds tiny creatures in its interior: they are the inhabitants of Orkyyun. The space ship, which has the size of a stone, has landed on the ground in Quebrada Negra. The crew and the ship are nearly dead and only the pilot has not fainted yet. We have infected your world. The pilot of the ship understands part of the question and answers that they come from the sky, in a way. Nevertheless, because the intruders bring illness, the yachak decides to call them demons. The yachak order them not to damage with their illness Pachamama and they are required to leave, but the pilot answers that this is impossible, that they are terribly sick: - Who are you?
And you? A very common reason to visit a yachak and healers in the Andean countries is to ask for a cure to mal del espanto the disease of panic. It is an illness with its own symptoms: fever, diarrhea, vomits According to popular beliefs, the illness can be caused by many factors: a furious dog that tries to attack, some unfortunate news, a fall The patient remains terrified after any of these experiences.
A yachak treats the illness with prayers, secret words, and blowing alcohol over the infected person. Some healers use also a red tie or a strip to diagnose the illness.
He realizes the importance of his task and executes the ritual on the aliens as if they were human beings, with prayers in Quechuan he begs the indigenous gods and the Christian God and saints and finishes by giving a shower of spirit over his patients. At the end of the rite, the small ship has recovered its vitality, its occupants are healthy again, and together they immediately leave the Earth. So the first monster we meet comes from the alien's class. We have said that the monsters of Orkyyun are in continual mutation and that their voices can come out of any part of their body.
At the same time, the history itself shows many examples of mutation, change and adjustment. When the yachak begins his ritual and ask Pachamama for its illness, what does he use during the ceremony? First, there are elements linked to the nature: obsidians, quartzes, rocks of rivers, etc. Second, there are western elements: a bayonet from the Independence War against Spain beginnings of the XIX century , saints stamps, crucifixes, photographies, among others There are elements of two different ways of thinking.
They are a miscellany that complements itself perfectly in the mind of the yachak. It is a sample of crossbreed, and the yachak prays both to the Christian God and to the deities of his forefathers. It seems to be impossible to find examples of pure characters or situations in the story. In the same way as the yachak is a product of a crossbreeding, the aliens show a complex facet of adjustment. Their machines are not pure metal. The people of Orkkyun, who come from such an advanced planet, still allow themselves to be dominated by a feeling as basic as fear. Besides, there is a paradox: the monsters with the tubular extremities do not provoke fear.
It is strange. Maybe because the yachak knows that his work potentially will lead him to speak with demons. There is also the explanation of the size: if the monster is bigger, the fear increases too. In any case, these monsters are not too original aliens in other plots the form of aliens has been characterized as a disparate mass , though they are terribly attractive for their roll in the story. Because the inhabitants of Orkkyun are monsters, they should provoke a compulsory consequence: the appearance of the fear.
The monsters and fear are an entity in the plots. But in contrast to the traditional stories, in this one the monsters tiny and in the process of dying are also under the effects of the terror. The fear is the sensation which all the characters have to fight against: Jos Snchez, and the fear of the spirits at the waterfall of. In the plot the fear is the axis, but dominates the monsters in addition.
The monsters bring the terror, but at the same time they experience it. The confusion between aliens and demons becomes remarkable too. For the yachak Jos Snchez, the word extraterrestrial does not mean anything. He defines the inhabitants of the planet Orkkyun by way of elimination: the intruders neither are humans, nor animals, plants, nor part of the tangible nature.
So they are spirits. But since they bring illness, they cannot be good spirits. They are demons. This sort of logic works perfectly. At the same time, all that is strange could become a monster: an alien, a malignant spirit, a deformed face We are scared of abnormality. Nobody speaks about the normal things, which are tacit.
It is the rupture of normality that also attracts us. This becomes evident in La entundada. It is a child his name does not appear in the plot who lives with a female cousin just a few years older , his uncle and his mother. The two children play together. One day, Numancia the female cousin , who is becoming a teenager, is kidnapped by the Tunda. But, what is a Tunda? The narrator tries to explain us: The Tunda is an ignominious beast The Tunda is a ghost The Tunda is the Patica Immediately, a group is organized to go to the jungle and rescue the girl.
They take dogs, provisions, weapons and clothes. The expedition walks close to the river. Nobody has seen either the Tunda or Numancia. The black women listen terrified to the details of the new apparition of the Tunda and beg their own children for prudence and care. More people join in the crusade, but although they check caves and travel a lot of time through the forest, they do not find any track. A few months later, when the search has stopped, Numancia arrives suddenly at the family house.
It is night time. The cousin and his mother are sleeping in a room next to the room of Numancias father. Characters are listed according to the originating film, then the name of character the quote is attributed to in case of more than one quote per source. Where quotes come from a series of films, they are organized in the order of the films they appeared in for example, quotes from the first Kill Bill film appear before quotes from the second film, and so on.
Where possible, for the purposes of clarification, further explanatory notes have been presented. Additionally, if a character's final words consist of a dialogue with the other characters, the other character's speech may be included for contextual purposes; for example, if one character asks a question that the one who is about to die answers.
Some characters may have more than one "death," in instances such as being resurrected, or existing temporarily as an undead being. In some of those instances, their last words from each "death" may be added if they are significant. Additionally, significant last words from deaths that are merely assumed to have happened or are non-canon are included.