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In The Flesh [BBC] (2013) - Launch Trailer HD

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The Origins of the Zombie, from Haiti to the U.S. | Monstrum

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The Uncanny: A Centenary - exhibition trailer

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Spine-chillers and suspense: A timeline of Gothic fiction

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From the publication of The Castle of Otranto to House of Leaves, a timeline of important events in the history of Gothic literature.

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Monsters in the Movies What is a Monster

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John Landis explains Why We Need Monsters

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Stephen King vs Edgar Allan Poe. Epic Rap Battles of History.

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Here are 10 of the best horror films and shows where the haunted house plays a starring role to watch while you're trapped at home during lockdown - if you dare.
The Haunting, 1963
Some houses "are born bad" warns the ominous narrator of The Haunting, a 1960s adaption of Shirley Jackson's novel The Haunting of Hill House. A group of paranormal investigators studying an old New England house with a nasty past find themselves simultaneously terrorised and beguiled by the building.

Strange noises come from behind ornate doors and a precarious spiral staircase holds a particularly terrible draw for one member of the unlucky party. Art director Elliot Scott created the Expressionist-style interiors, featuring angled walls that screw with perspective and - unusually for a film set - real ceilings, to create a suitably claustrophobic atmosphere.

The Haunting is available on YouTube and Amazon Prime.
Hereditary, 2018
There's something terrible lurking in the attic of this house in Utah, but the most unsettling part of director Ari Aster's Hereditary is the miniature models of houses and rooms that feature in many of the scenes.

Main character Annie Graham is a miniature artist, so real life miniaturist Steve Newburn was brought onboard to make the sinister models and dioramas that correlate to key moments in the plot.

One model, almost three metres tall, shows a series of dollhouses in different architectural styles sinking through the ground towards hell.

Hereditary is available to stream on A24.
The Haunting of Hill House, 2018
Floor plans can be deceiving in this tv series adaption of Jackson's novel, following five grown-up children coming to terms with their paranormal-filled childhood in a Gothic wreck of a house their parents planned to fix up and sell.

The 10-part Netflix show features a mysterious room at the heart of a house that's trying to put a sinister twist on the idea of a "forever home".

The Haunting of Hill House is available to stream on Netflix.
House, 1977
Nobuhiko Obayashi's psychedelic comedy horror film House follows a group of schoolgirls' misadventures while staying in a house belonging to the aunt of one of them - which is also trying to eat them.

Domestic items such as mirrors and mattresses, light bulbs and jars become possessed and devour the girls. Obayashi consulted his young daughter for the script, and used animation to create the bizarre furniture attacks.

House is available to stream on Criterion.
The House That Jack Built, 2018
BIG founder Bjarke Ingels consulted on the architecture of this stomach-turning story of a failed architect turned serial killer, directed by Lars von Trier. Together the architect and director came up with a truly horrifying prop for the film's denouement - a house built out of frozen corpses.

The House That Jack Built is available to stream on Amazon Prime.
Poltergeist, 1982
Even cookie-cutter new builds in the suburbs can become haunted, as the 1982 cult movie Poltergeist shows. Unfortunately for the Freeling family, their California dream house is part of a housing development that was built over an ancient cemetery, and the existing residents don't take too kindly to their new upstairs neighbours.

Poltergeist is available to stream on YouTube.
Crimson Peak, 2015
Guillermo del Toro's Crimson Peak is set at the fictional Allerdale Hall, a crumbling British manor built on top of a mine. Leaves drift in to the grand foyer through a broken roof, and sinister red clay seeps up from the basement.

Production designer Tom Sanders built the entire house, in its exaggerated Gothic Revivalist style, from scratch as a series of sets that were dismantled after filming finished. Every detail was customised, down to the patterns of moths on the tiled floors.

Crimson Peak is available to stream on Netflix.
The Shining, 1980
Isolation can take its toll on the human psyche, as explored in Jack Nicholson's famous turn in Stanley Kubrick's adaption of the Stephen King horror novel.

Despite having the run of the Overlook Hotel and its decidedly groovy decor, the lack of contact with the outside world, strange nightmares, and a ghost in room 237 drives an aspiring writer round the twist.

The Shining is available to stream on Google Play.
American Horror Story: Murder House, 2011
1120 Westchester Place in Los Angeles is stuffed to the rafters with the ghosts of murderers and their victims, who walk among the living and play havoc with their lives in this 12-episode series.

A real house, built in 1902 in a mix of the Tudor and Gothic Revival by Alfred Rosenheim, served as the exterior. Interior sets were created to be exact replicas, down to the stained glass originally designed by Louis Comfort Tiffany.

American Horror Story: Murder House is available to stream on Netflix.
The Cabin in the Woods, 2011
No category of horror sub-genre is safe from being sent up in this horror movie. A clichéd cast of characters, attempting to have a weekend away at a remote cabin, end up fighting for their lives when they discover monsters in the woods. But the real scares only start when they find the secret laboratory under the floorboards.

The spooky cabin, filled with two-way mirrors and mysterious items in the cellar, is the bait for a much bigger trap.

The Cabin in the Woods is available to stream on Google Play.

Main image courtesy of Universal.

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10 horror films and television shows where the haunted house is the star

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Here are 10 of the best horror films and shows where the haunted house plays a starring role to watch while you're trapped at home during lockdown - if you dare. The Haunting, 1963 Some houses "are born bad" warns the ominous narrator of The Haunting, a 1960s adaption of Shirley Jackson's novel The Haunting of Hill House.

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Wednesday Addams | Official Teaser | Netflix

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So how does the quiz work? A series of statements will give you points which will tell you how goth you are at the end. Of course this is very "cliché" and all just for fun!

Ready? Let's start!

1. Your favourite colour is black or it is one of your top three (1 point)

2. You own black lipstick/make-up (1 pt)

3. You have black or red/green/blue/pink/orange hair (1pt)

4. You own a pair of doc Martens or black boots (2 pts)

5. You own a piece of gothic jewellery or a lacy dress (2 pts)

6. Your home is full of candles/mirrors (4 pts)

7. You love bats, rats and/or cats (4 pts)

8. Your wear eyeliner or false lashes (4pts)

9. You listen to sad or dark music (5pts)

10. You've read Edgar Allan Poe ;) (5pts)

11. You enjoy the Addams Family, the series Wednesday, Coraline, Batman or any Tim Burton film (5pts)

12. You love DIY/scrapbooking/reading/drawing/artsy stuff (8pts)

13. You love scary books and films/series (8pts)

14. You find graveyards beautiful (10pts)

15. Your favourite season is autumn or winter (10pts)

Have you added up your points? Lets see how you did!

1-12 Points - The Baby Bat - You're getting there! We've all been a Baby Bat at one stage so its a great start! Maybe you didn't know you had some Goth in you!;)

13-34 Points - Spooky Enthusiast - Excellent score! You're definitely a spooky enthusiast obsessed with all things dark, goth and spooky!

35 -52 Points - Goth to the bone - Wow! Thats a lot of points, you must be goth to the bone!

53 - 70 Points - Hardcore Trad Goth - Incredible! You're most likely a huge fan of everything Gothic. You take the subculture very seriously and have earned the title Trad Goth!

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Spine-chillers and suspense: A timeline of Gothic fiction

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From the publication of The Castle of Otranto to House of Leaves, a timeline of important events in the history of Gothic literature.

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American Horror Story: Freak Show Season 4 New Trailer HD

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The Greatest Showman Cast - This Is Me (Official Lyric Video)

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Article rédigé par

Après Francis Ford Coppola, les frères Dardenne et Jane Campion, c'est au tour du réalisateur à succès, Tim Burton, de se voir remettre le 14e Prix Lumière vendredi 21 octobre. Le cinéaste à l'imaginaire débordant et l'univers si reconnaissable est récompensé pour l'ensemble de sa carrière et ses films iconiques, Edward aux mains d'argent (1990), Big Fish (2003) ou encore Charlie et la Chocolaterie (2005).

Un peu plus tôt dans la journée, il s'est rendu au Théâtre des Célestins de Lyon, pour échanger dans un cadre plus intimiste avec son public. Applaudi pendant de longues minutes lors de son entrée, le cinéaste de 64 ans a réagi avec émotion : " Je suis un peu stressé car je ne suis pas habitué à voir autant de gens et surtout à recevoir un tel accueil". Pendant presque deux heures, le cinéaste américain a été assailli de questions et remercié pour ses films. Des interrogations notamment sur ses futurs projets, dont le prochain verra le jour dans moins d'un mois. Il s'agit de la série Mercredi, sur la fille de La Famille Addams, qui sortira le 23 novembre sur Netflix.

France 3 Rhône-Alpes : J. Sauvadon / L. Crozat / W. Vadon

L'ami des monstres

Attiré par les ténèbres, le gothique ou la mort, Tim Burton a su, malgré son univers macabre, séduire un large public, des plus jeunes aux plus anciens. Ses films dévoilent une certaine beauté dans ses monstres recousus ou couverts de cicatrices. " Les monstres font totalement partie de mon œuvre. Quand j'étais petit déjà, je regardais beaucoup de films d'horreur avec des monstres. Ils ne sont pas méchants pour moi, ils ne me font pas peur ", confie-t-il.

Étant jeune déjà, il s'exprimait via son imaginaire, il préférait le dessin aux mots. Aujourd'hui, rien n'a vraiment changé et c'est son univers fantastique et horrifique, tout droit sorti de son imagination, qui constitue le fil rouge de ces films. " Ma formation en animation m'a beaucoup inspiré. C'est une façon très spécifique de penser et de voir les choses, il faut s'exprimer de façon très visuelle. C'est pour ça que je pense que l'ensemble de mon œuvre est cohérente ", explique-t-il.

Les projets à venir

Le cinéaste à l'univers foisonnant s'est aussi confié sur ses projets futurs. Absent depuis la sortie de Dumbo en 2019, il revient avec sa première série, Mercredi, le 23 novembre sur Netflix. Parti un an en Roumanie pour le tournage, Tim Burton a particulièrement savouré cette nouvelle expérience. " J'aime beaucoup le personnage de Mercredi dans La Famille Addams, donc j'ai vraiment pris beaucoup de plaisir à réaliser cette série ", confie-t-il.

Le réalisateur considère qu'aujourd'hui Netflix " est un studio comme un autre", et que l'industrie hollywoodienne laisse toujours de place aux voix différentes, " qui peuvent passer sous le radar, même si c'est un combat". Il dit par contre avoir compris à l'époque de Dumbo "en avoir probablement "fini" avec Disney, le studio où il avait débuté comme animateur : "j'ai réalisé que j'étais commeDumbo , travaillant dans un grand cirque dont j'avais besoin de m'échapper".

Ces dernières années lui ont également permis de prendre du recul sur son travail : " La pandémie a été un moment de transition pour le cinéma, tous les studios voulaient se diriger vers les plateformes, personne ne savait trop où aller". Mais après la pandémie, " j'ai réalisé que le cinéma restait toujours important, qu'il serait toujours là, que c'était une forme d'art qui transcendait tout", a-t-il ajouté. Le réalisateur en a profité pour se retrouver seul afin de réfléchir à ce qu'il voulait. " Le prochain film que je vais faire, je veux qu'il soit vraiment important pour moi, donc je prends mon temps, mais je reviens ", a-t-il annoncé.

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"Je m'identifie aux monstres car ils sont différents comme moi" : lauréat du Prix Lumière, Tim Burton se livre à son public

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Le cinéaste américain Tim Burton était présent à Lyon, à l'occasion de la remise du Prix Lumière, vendredi 21 octobre. Quelques heures avant la cérémonie, il est venu échanger avec son public sur son cinéma et ses projets à venir.

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The Haunting of Hill House | Trailer Officiel VOSTFR | Netflix

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Emil Ferris's 2017 graphic novel "My Favorite Thing is Monsters" is at turns beautiful, haunting and heart wrenching--and it took the comics world by storm. It won 3 Eisner awards in 2018 for best writer/artist, best new graphic album and best coloring. It was also nominated for 3 Ignatz awards in 2017 and a Hugo Award for "Best Graphic Story" in 2018. It may come as no surprise, then, that the Pennsylvania Center for the Book unanimously selected this book for the 2018 Lynd Ward Graphic Novel Prize.

This book takes place in Chicago in the late 1960s, and political unrest and class inequities set the tone. The narrative unfurls in the form of a diary drawn and written by a 10-year-old, Karen Reyes, who is beginning to question her sexuality. Throughout the novel, she draws herself as a werewolf because she'd rather envision herself as a monster than face this confusion head-on (which Ferris has said will be addressed in the second volume). The combination of artistic styles and gripping story pull you in as Karen attempts to solve the murder of her neighbor, a Holocaust survivor; grapples with familial stress and social awkwardness; and struggles to figure out where she belongs in a world not designed for her. The personal nature of the text and its design as a series of semi-connected tangents invites readers to revisit each section again and again as the larger narratives come into focus. As Karen is discovering more about the murder and jotting down what comes to mind, so, too, are we discovering more about Karen and the intricacies of her life.

"My Favorite Thing is Monsters" is unusual in that it was drawn with ballpoint pens on wide-ruled paper, adding a sense of narrative play supporting the book being a tween's diary. It also contains myriad art styles. Cute child-like doodles sit next to stunning recreations of classical sculpture from the Chicago Museum of Art; on the next page we may find a mockup of a horror magazine cover or portrait of a family member. Figures from the art museum are given dialogue bubbles; scraps of paper are layered over other drawings as the images talk to each other verbally and visually; text envelops and annotates drawings so that both writing and art are essential to further the story.

Ferris challenges readers to dig deep as we explore the narrative threads, asking us to consider the complexities of growing up poor, or queer, or as a person of color, in a time of political upheaval. Ultimately, this graphic novel encourages us to investigate the nature of monstrosity itself--who decides what is monstrous, and can one's feelings of monstrosity be lovingly embraced?
Reviewer Lars Stoltzfus-Brown is a Ph.D. candidate in mass communications at Penn State. Author Emil Ferris will accept the 2018 Lynd Ward Graphic Novel Prize on October 17 at 4 p.m. in Penn State's Foster Auditorium. A free talk and book signing will follow.

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BookMark: "My Favorite Thing Is Monsters" By Emil Ferris

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Emil Ferris's 2017 graphic novel "My Favorite Thing is Monsters" is at turns beautiful, haunting and heart wrenching--and it took the comics world by storm. It won 3 Eisner awards in 2018 for best writer/artist, best new graphic album and best coloring.

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Emil Ferris, illustratrice, dessinatrice, auteur de BD, est l'invitée de Tewfik Hakem, pour " Moi, ce que j'aime, c'est les monstres ", parue aux éditions Monsieur Toussaint Louverture.

Vendredi - BD

Avec Emil Ferris, auteure du roman graphique "Moi, ce que j'aime, c'est les montres", paru en 2018 aux éditions Monsieur Toussaint Louverture. Cette bande-dessinée, vivement saluée - et d'abord aux Etats-Unis, où elle est parue l'an dernier - se présente comme le journal d'une petite fille, Karen Reyes. Jeune fille fantasque et intelligente, elle aime les monstres, les fantômes, et grandit dans le Chicago des années 60. Elle cherche à démêler le vrai du faux du monde qui l'entoure, elle cherche aussi à expliquer l'horreur qui sommeille en chacun de nous, à comprendre les traumatismes et secrets des voisins et proches et à regarder de plus près, pour mieux les analyser, les chef-d'œuvres de l'histoire de l'art.

Nous pouvons tous être des monstres. Comme, récemment, les monstres à Charlottesville qui brandissaient des torches sans savoir qu'ils étaient eux-mêmes des monstres.

Karen aime beaucoup l'art; c'est le prisme par lequel elle voit le monde. Les tableaux constituent une langue pour elle et les tableaux décrivent le monde aux yeux de Karen de telle sorte qu'elle peut comprendre les choses.

Le carnet à spirale c'est typiquement quelque chose qu'on peut trouver dans le bus, qu'une personne aurait laissé derrière. Par ce carnet à spirale on se retrouve plongé dans un univers déconcertant et on a vraiment l'impression que ce carnet est authentique.

Enfant, je me suis installée à Roger Parks à Chicago, c'était un quartier ou il y avait beaucoup de juifs survivants de la Shoah. Il n'était donc pas rare de voir sur l'avant-bras de certaines de ces personnes un tatouage avec des chiffres, et donc je me suis intéressée à l'histoire de ces gens-là. En effet, c'était l'histoire la plus puissante qui soit de les écouter et de tenir de leur parole l'expérience qu'ont pu vivre des centaines de milliers, voire des millions de juifs.

La plupart des éditeurs ont regardé cet objet, qui était un monstre à leurs yeux: est-ce que c'était un mystère, est-ce que c'était une autobiographie, est ce que c'était l'histoire du 3ème Reich et de l'Holocauste ? Ils n'arrivaient pas à mettre le doigt dessus.

Je pense que les gens sont réticents à admettre que les enfants comprennent la vie et vivent des choses traumatisantes. Nous on aime penser que les enfants ne souffrent pas, n'ont pas cette expérience et pourtant ils vont à travers de la vie avec très peu de soutien. L'innocence de l'enfant qui préserverait prétendument les enfants, c'est faux.

Je voulais rendre compte avec mon ouvrage que c'est important d'être humain, ces œuvres d'art sont un langage qui nous font comprendre ce qu'est l'expérience de l'humanité ou de ce que c'est qu'être un monstre, ce qui est la même chose à bien des égards.

Programmation musicale:
Werewolf - The Frantics
Monsters - Ruelle

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Emil Ferris : "Nous pouvons tous être des monstres"

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Emil Ferris, illustratrice, dessinatrice, auteur de BD, est l'invitée de Tewfik Hakem, pour " Moi, ce que j'aime, c'est les monstres ", parue aux éditions Monsieur Toussaint Louverture. Avec Emil Ferris, auteure du roman graphique "Moi, ce que j'aime, c'est les montres", paru en 2018 aux éditions Monsieur Toussaint Louverture.

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Elle aura pris du temps à être connue, mais aussitôt reconnue tant son roman graphique secoue les codes du genre. Le père de Maus, Art Spiegelman, dit d'elle qu'elle est l'une des plus grandes artistes de bande dessinée de notre époque. Emil Ferris est notre invitée pour son roman graphique_ Moi, ce que j'aime, c'est les monstres_aux Editions Monsieur Toussaint Louverture. Lauréate du prix ACBD 2019, trois Prix Eisner l'an passé, plus grand prix américain de la bande dessinée, elle est en lice pour le Fauve d'or du Festival d'Angoulême (du 24 au 27 janvier 2019).

La plupart de mes personnages sont en partie des gens que je connaissais.
(Emil Ferris)

Petite déjà, à l'âge où les filles rêvent d'être des princesses, Emil Ferris rêve d'être un monstre. Une scoliose pendant l'enfance, puis une piqûre de moustique et un virus qui, adulte, la laissent clouée dans une chaise roulante. Ces épreuves l'ont, dit-elle, forcée à choisir la vie, et poussée à créer.

Nous avons peur du monstre, notamment si ce monstre, c'est nous. Nous sommes monstres dans nos échecs, dans nos appétits, dans nos désirs.
(Emil Ferris)

Le monstre pour moi, c'est l'élégance, c'est la beauté.
(Emil Ferris)

Dans Moi, ce que j'aime, c'est les monstres, on partage le quotidien de Karen, une petite fille de Chicago qui se voudrait loup-garou. Elle passe son temps à recopier des couvertures de pulp magazines horrifiques et à admirer les grandes oeuvres au musée. Sa voisine, la belle Anka, va mourir d'une balle dans le cœur. La police parle d'un suicide mais Karen n'y croit pas. Imperméable de détective sur le dos, elle enquête et reconstitue l'histoire de la belle Anka.

L'emblème du fait que la magie existe... C'est ça, l'art.
(Emil Ferris)

Une oeuvre entre souvenir d'enfance, drame familial et récit historique.

Extraits sonores:

Elephant Man (David Lynch, 1980)

The Wolf Man (George Waggner, 1941)

"Barefoot in the Park" (Assume Form, James Blake, 2019)

Robert Crumb (Tout arrive, 19/07/2009)

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Emil Ferris, la dessinatrice qui aimait les monstres

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Elle aura pris du temps à être connue, mais aussitôt reconnue tant son roman graphique secoue les codes du genre. Le père de Maus, Art Spiegelman, dit d'elle qu'elle est l'une des plus grandes artistes de bande dessinée de notre époque.

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There is a surge in goth-lit that channels our fears and anxieties. Hephzibah Anderson explores how the genre's past and new stories delve deep into disorder and darkness.

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Here are 10 of the best horror films and shows where the haunted house plays a starring role to watch while you're trapped at home during lockdown - if you dare.
The Haunting, 1963
Some houses "are born bad" warns the ominous narrator of The Haunting, a 1960s adaption of Shirley Jackson's novel The Haunting of Hill House. A group of paranormal investigators studying an old New England house with a nasty past find themselves simultaneously terrorised and beguiled by the building.

Strange noises come from behind ornate doors and a precarious spiral staircase holds a particularly terrible draw for one member of the unlucky party. Art director Elliot Scott created the Expressionist-style interiors, featuring angled walls that screw with perspective and - unusually for a film set - real ceilings, to create a suitably claustrophobic atmosphere.

The Haunting is available on YouTube and Amazon Prime.
Hereditary, 2018
There's something terrible lurking in the attic of this house in Utah, but the most unsettling part of director Ari Aster's Hereditary is the miniature models of houses and rooms that feature in many of the scenes.

Main character Annie Graham is a miniature artist, so real life miniaturist Steve Newburn was brought onboard to make the sinister models and dioramas that correlate to key moments in the plot.

One model, almost three metres tall, shows a series of dollhouses in different architectural styles sinking through the ground towards hell.

Hereditary is available to stream on A24.
The Haunting of Hill House, 2018
Floor plans can be deceiving in this tv series adaption of Jackson's novel, following five grown-up children coming to terms with their paranormal-filled childhood in a Gothic wreck of a house their parents planned to fix up and sell.

The 10-part Netflix show features a mysterious room at the heart of a house that's trying to put a sinister twist on the idea of a "forever home".

The Haunting of Hill House is available to stream on Netflix.
House, 1977
Nobuhiko Obayashi's psychedelic comedy horror film House follows a group of schoolgirls' misadventures while staying in a house belonging to the aunt of one of them - which is also trying to eat them.

Domestic items such as mirrors and mattresses, light bulbs and jars become possessed and devour the girls. Obayashi consulted his young daughter for the script, and used animation to create the bizarre furniture attacks.

House is available to stream on Criterion.
The House That Jack Built, 2018
BIG founder Bjarke Ingels consulted on the architecture of this stomach-turning story of a failed architect turned serial killer, directed by Lars von Trier. Together the architect and director came up with a truly horrifying prop for the film's denouement - a house built out of frozen corpses.

The House That Jack Built is available to stream on Amazon Prime.
Poltergeist, 1982
Even cookie-cutter new builds in the suburbs can become haunted, as the 1982 cult movie Poltergeist shows. Unfortunately for the Freeling family, their California dream house is part of a housing development that was built over an ancient cemetery, and the existing residents don't take too kindly to their new upstairs neighbours.

Poltergeist is available to stream on YouTube.
Crimson Peak, 2015
Guillermo del Toro's Crimson Peak is set at the fictional Allerdale Hall, a crumbling British manor built on top of a mine. Leaves drift in to the grand foyer through a broken roof, and sinister red clay seeps up from the basement.

Production designer Tom Sanders built the entire house, in its exaggerated Gothic Revivalist style, from scratch as a series of sets that were dismantled after filming finished. Every detail was customised, down to the patterns of moths on the tiled floors.

Crimson Peak is available to stream on Netflix.
The Shining, 1980
Isolation can take its toll on the human psyche, as explored in Jack Nicholson's famous turn in Stanley Kubrick's adaption of the Stephen King horror novel.

Despite having the run of the Overlook Hotel and its decidedly groovy decor, the lack of contact with the outside world, strange nightmares, and a ghost in room 237 drives an aspiring writer round the twist.

The Shining is available to stream on Google Play.
American Horror Story: Murder House, 2011
1120 Westchester Place in Los Angeles is stuffed to the rafters with the ghosts of murderers and their victims, who walk among the living and play havoc with their lives in this 12-episode series.

A real house, built in 1902 in a mix of the Tudor and Gothic Revival by Alfred Rosenheim, served as the exterior. Interior sets were created to be exact replicas, down to the stained glass originally designed by Louis Comfort Tiffany.

American Horror Story: Murder House is available to stream on Netflix.
The Cabin in the Woods, 2011
No category of horror sub-genre is safe from being sent up in this horror movie. A clichéd cast of characters, attempting to have a weekend away at a remote cabin, end up fighting for their lives when they discover monsters in the woods. But the real scares only start when they find the secret laboratory under the floorboards.

The spooky cabin, filled with two-way mirrors and mysterious items in the cellar, is the bait for a much bigger trap.

The Cabin in the Woods is available to stream on Google Play.

Main image courtesy of Universal.

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10 horror films and television shows where the haunted house is the star

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Here are 10 of the best horror films and shows where the haunted house plays a starring role to watch while you're trapped at home during lockdown - if you dare. The Haunting, 1963 Some houses "are born bad" warns the ominous narrator of The Haunting, a 1960s adaption of Shirley Jackson's novel The Haunting of Hill House.

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The Haunting of Hill House was much more than your basic haunted house story. Based on Shirley Jackson's classic 1959 novel of the same name, the Netflix series delivered memorably creepy scenes, including one stunningly choreographed long shot, along with a few terrifying jump scares. The truly chilling thing about the adaptation, though, was its ability to seamlessly blend supernatural thrills with thoughtful explorations of childhood trauma, grief, addiction, and strained family relationships. And now there's more frightening fun ahead from this series.

After the success of Hill House, writer-director Mike Flanagan, who also serves as showrunner, and producer Trevor Macy decided to renovate the eerie series and turn it into an anthology series, The Haunting. The second season, called The Haunting of Bly Manor, will draw its inspiration from Henry James' classic works, including the 1898 horror novellaThe Turn of the Screw. Based on that source material alone, we can infer that The Haunting Season 2 will be every bit as frightening and smart as Hill House when it arrives. Let's take a look at everything we know so far about The Haunting of Bly Manor so far, including casting, trailers, and more.

The premiere date is soon. The Haunting of Bly Manor is set to premiere on Friday, Oct. 9, just in time to help kick off spooky season.

The Bly Manor trailer will give you chills. In September, Netflix revealed the official Bly Manor trailer, giving viewers a look at this season's haunted house and the creepy children who call it home.

A number of Hill House stars will return for Season 2. Bly Manor reunites much of Hill House's Crain family. Victoria Pedretti, who played Nell Crain in Hill House, will play the new au pair at Bly, Dani Clayton. Henry Thomas, who played Hugh Crain, will play Henry Wingrave, the wealthy estate owner who hires Dani to care for his niece and nephew, Miles and Flora Wingrave. Oliver Jackson-Cohen, who played Luke Crain, will play Peter Quint, Henry's charming but dangerous valet.

They'll be joined by Kate Siegel, who played Theo Crain, and Katie Parker, who played Poppy Hill, who will appear in Bly Manor in secret roles. Carla Gugino, who starred as the matriarch Olivia Crain in Hill House, has also hinted that she may be returning for The Haunting of Bly Manor, but nothing is confirmed.

New faces are joining the cast. favorite Rahul Kohli has joined Bly Manor as the estate's chef, Owen, who is described by Deadline as "a small town guy with a worldly mindset, who has returned to the country to take care of his ailing mother."

T'Nia Miller (Years and Years) portrays the family's housekeeper, Mrs. Hannah Grose. Young actors Amelie Smith and Benjamin Ainsworth play Flora and Miles Wingrave, respectively. Tahirah Sharif will play Rebecca Jessel, the children's governess before Dani. And Amilia Eve will play Bly's groundskeeper Jamie.

It's set in the '80s. Rather than bring James' work fully into the modern day, Flanagan opted to set Bly Manor in 1987. So get ready for a lot of rad '80s fashion.

The season adapts several Henry James stories. When Netflix announced Hill House Season 2 would be titled The Haunting of Bly Manor, it became clear that James' chilling gothic romance novella The Turn of the Screw -- about a governess taking care of two orphaned children in a potentially haunted country estate in England -- would be a big influence on the season. However, Bly Manor won't just draw from The Turn of the Screw and will actually incorporate elements of several of Henry James' other ghost stories.

"The thing I have access to, that no other adaptation of The Turn of the Screw has, is the rest of Henry James' ghost stories. I get to use all of them," Flanagan told Games Radar. " The Turn of the Screw has been adapted so many times. We know how perfectly it fits into a feature film format. We're doing a whole season of television. The Turn of the Screw is only one of a dozen stories that we're telling. All Henry James; all thematically linked."
The Book Behind The Haunting of Bly Manor Proves It'll Be Just as Creepy as Hill House
"I think of The Turn of the Screw as the backbone of this season -- the through line that carries us from beginning to end. But we get to go off into The Jolly Corner and The Romance of Certain Old Clothes, and so many other of these wonderful ghost stories that people haven't seen adapted before," he continued. "It's all wrapped up in what seems to be familiar, but that familiarity goes away really early in the first episode. It says, 'We're off on a whole other road.'"

There will be nine episodes. Creator Mike Flanagan confirmed in September that The Haunting of Bly Manor will be nine episodes long, which is one episode less than The Haunting of Hill House was. The show's official Twitter feed revealed (most of) the episode titles in late September. All of the episode titles are taken from Henry James stories, so with a little sleuthing it shouldn't be too difficult to figure out the unknown title for Episode 8, if you're so inclined.

Episode 1: "The Great Good Place"
Episode 2: "The Pupil"
Episode 3: "The Two Faces Part 1"
Episode 4: "The Way It Came"
Episode 5: "The Altar of the Dead"
Episode 6: "The Jolly Corner"
Episode 7: "The Two Faces Part 2"
Episode 8: "___ _______ __ _______ ___ ______"
Episode 9: "The Beast in the Jungle"

The poster for the season is seriously creepy. On Aug. 24, Netflix shared the first look at Bly Manor -- an ominous image of a woman walking into the water with an equally ominous manor looming in the background. Netflix has since released a number of photos from the new season.

It'll be "scarier" than Hill House. It sounds like Bly Manor will ramp up the spookiness quite a bit -- and even feature some surprises for those familiar with Henry James' work. Flanagan told Birth.Movies.Death, "For Henry James fans, it's going to be pretty wild, and for people who aren't familiar with his work, it's going to be unbelievably scary. I already think it's much scarier than Season 1, so I'm very excited about it."
5 Ways The Haunting of Bly Manor Will Be Different From Hill House
Prepare to spot more hidden ghosts in Season 2. One of the most exciting aspects of The Haunting of Hill House was the fact that fans could watch and re-watch scene after scene to spot all the ghosts hidden throughout the series. Flanagan said the same will be true in Bly Manor -- with a twist.

"This season we wanted our hidden elements to tell their own story," Flanagan told Vanity Fair. "And very much unlike the first season, they're actually going to be explained. By the end of the season, you're going to know who they are and why they're there."

The Haunting of Bly Manor will premiere on Netflix on Friday, Oct. 9. The Haunting of Hill House is streaming now on Netflix.

PHOTOS: The Haunting of Bly Manor: First Look Photos

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The Haunting of Bly Manor on Netflix: Trailer, Release Date, Cast, and More

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The Haunting of Hill House was much more than your basic haunted house story. Based on Shirley Jackson's classic 1959 novel of the same name, the Netflix series delivered memorably creepy scenes, including one stunningly choreographed long shot, along with a few terrifying jump scares.

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What Happens When Women Take Control of the Horror Genre?

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A new crop of horror films from women suggest that the things that scare women the most are already inside them

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The Monster story is one of the favorite types of Myth Archetype: the main character goes through an Outer Story, and that Outer Story symbolizes an Inner Story of emotional change.

Monster stories have been popular for centuries. Initially, a monster of some kind menaces the hero and the community. In Beowulf, the village is threatened by Grendel. In the first James Bond movie, Dr. No, the world is threatened by a monstrous supervillain. The monster can be an extraterrestrial monster, as in Alien, a monstrous animal, as in Jaws, a monstrous human, like Glenn Close's character in Fatal Attraction, an evil horde like the Persians in 300, even a disease threatening the main character or all of mankind.

The main character fights against the seemingly unbeatable monster, losing most of the battles until it looks like he has no hope and will ultimately lose the war. But, in the end, through superhuman effort, the main character manages to overcome the monster and "kill" it in some way.

These stories often feature a main character who undergoes little or no inner change. Instead, the monster symbolizes a human fault that the main character has to overcome. Killing the monster is a symbol of evolving and overcoming an inner flaw.

Jaws is the paradigm, but the Monster movie has several variations. Knowing how the Monster movie is supposed to work - on a symbolic level - lets us analyze these variations to see if they will satisfy an audience.

Nice Monster

Movies like Frankenstein and King Kong start out in standard fashion. A hideous, scary monster is introduced and starts to wreak havoc on the human community. But partway into the movie, the audience gets the message that the monster isn't so bad. Indeed it seems to be better - more human - than the actual humans trying to kill it.

Kong, for example, is exploited by the evil hunters and showmen who kidnap the giant gorilla from his island. He loves the beautiful Ann Darrow and protects her from pushy dinosaurs. He protects her right up to the moment he's shot and plunges from the Empire State Building to his death. To put it simply, he's not very monstrous; he's actually kind of sweet.

This switcheroo tends to muddle the symbolic Inner Game. Not being so bad, the monster no longer coherently symbolizes an inner flaw, so the audience unconsciously tries to reconstruct the narrative in a way that makes Inner Game sense. It doesn't always succeed. The latest version of King Kong grossed a little over $200 million domestically, but with a budget also a bit over $200 million, it wasn't exactly a rousing commercial success.

Run Away!

Given the symbolism of the Monster story, it's important to avoid certain pitfalls. One is the misuse of what I call a Run Away! story, a story form that usually doesn't work. Recent examples of this are War of the Worlds, The Happening, and 2012.

In War of the Worlds, Tom Cruise spends the movie running to escape an overwhelming alien invasion. Sure, the military is futilely trying to kill the aliens and their deadly machines. But Cruise isn't, he's just running away.

This is not to criticize the fictional character - in real life, if you encounter a technologically advanced alien invasion, I'm advising you to run away. But it doesn't work as symbolism; you can't overcome your inner flaw by running away from it. Wherever you run, your inner flaw stays right with you. In a Monster story, the character can try to escape the monster at first, but he must eventually realize that that's not going to work and turn his attention to killing it.

That's what happens in Duel, Steven Spielberg's breakthrough TV movie. Dennis Weaver is a motorist tormented by an unidentifiable truck driver, who pursues him relentlessly. Weaver spends most of the film trying to get away from the truck, but, in the end, when he realizes he can't escape, he turns and fights, and kills his tormentor.

And remember the turning point in The Matrix. The humans must constantly flee from the all-powerful agents, but at the climax of the movie, Keanu Reeves instead turns to do battle with Agent Smith. He realizes he must kill the monster, and Laurence Fishburne marks the realization by saying "He's starting to believe." Reeves kills the monster and saves humanity from the matrix.

By way of contrast, in War of the Worlds, the aliens eventually succumb to earthly bacteria, so the final symbolic message is something like "If you run from your inner flaw, you might get lucky and it will go away on its own." Not quite as inspirational as "If you battle your inner demon, you can defeat it."

The Happening has the same problem. Mark Wahlberg runs away from another monster, this time an air-borne disease that causes people to commit suicide. He and a few others run and run and run... and eventually the disease stops. They've outrun the monster. Again, symbolically (you can outrun your inner flaw) unsatisfying.

Finally, look at 2012 - it has exactly the same problem. John Cusack stumbles onto an impending disaster - neutrinos are causing the earth to heat up and melt the crust layer we all live on. He manages to pick up his family in a limousine so they can escape the devastation and sneak onto giant arks the world's governments have built to save a select few.

In this movie, too, the monster just goes away. Once the melting has caused massive earthquakes and tidal waves, the damage is done and the survivors just have to wait on the giant boats for a few years till the water recedes. Yet another symbolically unsatisfying message: "Avoid your inner flaw long enough - it will do a lot of damage but ultimately someone else will save you."

Maybe the symbolism issue is why another movie - which also employed Run Away! - did succeed, in fact becoming the most successful movie, based on cost, in history - The Blair Witch Project. A group of documentarians/investigators hiking through the woods find they're being tracked by a supernatural predator. They try to flee, but they can't get away, and in the end they're all caught and killed. This time, the Run Away! symbolism actually works: if you simply try to run away from your inner flaws, you won't escape them, and eventually they'll destroy you.

This same thing works in Cloverfield. A group of twenty-somethings flee for their lives from a giant creature that is laying waste to Manhattan. As in Blair Witch, it's all being caught on someone's videotape. And in the end, again as in Blair, they all end up dead, killed by the monster.

Cloverfield was another box office success, grossing over $80 million on an estimated budget of $25 million. So Run Away! can work, but only if the screenwriter follows through with the archetype's symbolism and lets the monster kill the characters in the end.

Wrong Monster

Another example of a variation on Monster is offered by Basic Instinct. Sharon Stone portrays the genital-flashing, murderous monster being tracked by detective Michael Douglas. But he gets tricked by Stone into believing that Jeanne Tripplehorn, the police psychologist he occasionally has rough sex with, is the actual killer, and he shoots Tripplehorn dead. In other words, he kills the wrong monster.

In the final scene, Douglas is in bed with Stone, and we see her icepick on the floor underneath. Seems like it's not going to work out for Douglas, which is symbolically appropriate - if instead of solving your actual inner problem you solve another problem you think you have (but don't), you're not going to get any better. A fascinating variation on Monster - Wrong Monster.

A similar dynamic occurs in Mystic River. Sean Penn comes to believe that his daughter has been murdered by his childhood friend Tim Robbins, so he murders Robbins in return. Then he finds out his daughter was killed by someone else. He thought he was killing the monster, but he's killed the wrong monster. And his other childhood friend, and now cop, Kevin Bacon knows it. As the movie ends, we're sure Penn is in for more trouble as a result of what he's done.

Killed by the Monster

A final example of a Monster variation is one that doesn't work very well. In Valkyrie, Tom Cruise plays Colonel Claus von Stauffenberg, a German officer who mounts a plot to assassinate Adolf Hitler and free Germany from the Nazi regime.

The conspirators do eventually set off an explosion, but Hitler survives and all are executed, including Cruise, who is shot by a firing squad.

Valkyrie barely outgrossed its estimated budget, because of its handling of the Monster archetype. Main character Cruise does everything he can to kill the monster (Hitler), but in the end the monster kills him. The unfortunate symbolic message is that you can fight your inner flaw, but sometimes it's just too strong to defeat, and instead it defeats you. Not very inspiring, and not very lucrative at the box office.

These Monster variations are just a few of the story types discussed in my book The Inner Game of Screenwriting. Check it out for a thorough understanding of how movies really work.

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The Monster story is one of the favorite types of Myth Archetype: the main character goes through an Outer Story, and that Outer Story symbolizes an Inner Story of emotional change. Monster stories have been popular for centuries. Initially, a monster of some kind menaces the hero and the community.

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PADLET GOTHIC II suite de celui-ci POE + KING

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PADLET GOTHIC II suite de celui-ci POE + KING

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Publié par mrsb973 2 juin 2020 2 juin 2020 Publié dans Concepts Littéraire, Non classé

The Doppelgänger is a mysterious, exact double of a person and a convenient device in literature…

To read an excerpt featuring the literary device of the Doppelgänger see here:
https://englishlpo973.wordpress.com/2020/06/03/the-strange-case-of-dr-jekyll-and-mr-hyde/

Publié par mrsb973

Teacher of English literature and civilization. Voir plus d’articles

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History’s deadliest colors - J. V. Maranto

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Gothic Nightmares explores the work of Henry Fuseli and William Blake in the context of the Gothic - the taste for fantastic and supernatural themes which dominated British culture from around 1770 to 1830.

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Tate Britain | Past Exhibitions | Gothic Nightmares

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Gothic Nightmares explores the work of Henry Fuseli and William Blake in the context of the Gothic - the taste for fantastic and supernatural themes which dominated British culture from around 1770 to 1830.

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Mad Monster Party - 1967 - Official Trailer

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As was the case with 'Pyramid Song', the Charles Mingus track 'Freedom' was a huge inspiration for 'We Suck Young Blood'. And like most songs on Hail To The Thief, its roots go back to the Kid A/Amnesiac days. The following (quite simplistic) page appeared in radiohead.com under the title 'black rabbit'. The original html file was created on september 27th 2000, while Radiohead were working on tracks for Amnesiac:

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As was the case with 'Pyramid Song', the Charles Mingus track 'Freedom' was a huge inspiration for 'We Suck Young Blood'. And like most songs on Hail To The Thief, its roots go back to the Kid A/Amnesiac days. The following (quite simplistic) page appeared in radiohead.com under the title 'black rabbit'.

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Tout d'abord, sachez que, contrairement aux apparences, l'histoire que nous allons vous raconter se base sur des faits, des dates, des lieux et des personnages authentiques. Cet épisode a - par ailleurs - été repris dans la presse de l'époque et a fait également l'objet de publications scientifiques.

En revanche, l'interprétation de certains évènements - et la manière dont ils ont été rapportés - pose question. Raison pour laquelle - aujourd'hui encore - l'affaire du Vampire de Highgate fascine autant qu'elle intrigue le grand public.

Cette histoire nous plonge dans l'Angleterre de la fin des années soixante. Pendant plusieurs semaines, un cimetière du nord de Londres est le théâtre de phénomènes inquiétants. Sur place, des personnes affirment avoir été attaquées en pleine nuit par une mystérieuse créature... L'une des victimes - une jeune fille - est même retrouvée avec une large morsure au niveau du cou !

Sur la base de ces témoignages, un jeune homme, adepte des sciences occultes - David Farrant - et un révérend du nom de Sean Manchester, vont se lancer dans une chasse au démon. Une quête hors norme qui va mobiliser les habitants de Londres, les caméras de la BBC et même les détectives de Scotland Yard, genre : " Bon sang, mais c'est bien sûr !"

L'invité : Jean Marigny

Après ce récit haletant, nous recevons notre invité du jour, Jean Marigny, professeur émérite de littérature anglaise et américaine à l'Université Stendhal de Grenoble. Il est l'un des spécialistes du mythe des vampires et de leur représentation dans la littérature. Son dernier livre - anthologie co-écrite avec Jacques Finné - s'intitule Nouvelles Histoires de Femmes Vampires, paru aux éditions Terre de Brume en juin 2019.
Ressources documentaires Programmation musicale

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Cet épisode de l'émission "Affaires Sensibles" nous plonge dans l'Angleterre de la fin des années soixante, où un cimetière du Nord de Londres devient le théâtre de phénomènes inquiétants. L'invité est professeur émérite de littérature anglaise, spécialiste des vampires, Jean Marigny.

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The Monkey's Paw | Halloween Special 2013 | WSKG

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Introduction

Ambroise Paré's 1573 medical treatise, Des Monstres et prodiges, sheds light on the diverse physical singularities which turned a human body into a monstrous one in the eyes of early modern Europeans (1841, 1-68). A girl suffering from hypertrichosis, an excessive amount of hair growth, an infant born without a left leg, a hermaphrodite, a boy with a human trunk and the legs of a dog and conjoined brothers all appear in the study of Henri III's surgeon. When Shakespeare wrote his plays, a body was therefore deemed monstrous when it featured an excess, a lack, when it was deformed, or when it transgressed the ontological distinctions between the human and the animal, between the sexes or between the singular and the plural. Shakespeare's plays capture the multifaceted and diverse categories which monstrosity embraced as they are teeming with misshapen characters, like Richard III, the "deformed, unfinished" tyrant ( Richard III, I. 1. 20), excessively tall or small people like giants and dwarves ( King John, I. 1. 225; Love's Labour's Lost, III. 1. 166), one-eyed cyclops ( Titus Andronicus, IV. 3. 46), protagonists whose clothes and actions blur the distinctions between the sexes, like Rosalind in As You Like It, and hybrids like Bottom, the donkey-headed man of A Midsummer Night's Dream, or Caliban, the inhabitant of the island of The Tempest, who simultaneously appears as a man (II. 2. 34), a fish (V. 1. 269), a tortoise (I. 2. 316) and a dog (II. 2. 145). Belonging to an already existing category of monsters, the hybrids, Bottom and Caliban nonetheless introduce an original treatment of the monstrous identity, as they are staged as subjects. This paper aims to study how and why Shakespeare builds up this unusual characterisation in A Midsummer Night's Dream and in The Tempest.

Showing that monsters were seldom depicted as feeling and thinking entities in the early modern places and texts in which they appeared, the first part of this paper will highlight the originality of Shakespeare's staging of Caliban and Bottom. I will then study how this innovative characterisation of monsters is built up onstage and how it triggers compassion. Finally, I will show how this emotion, which monsters only seldom inspired in the early modern period, invites the audience to recognise the mutability of human identity in the two monstrous hybrids.

1. Monsters as mere bodies

In the early modern places and texts where they appeared, monstrous men and women were very seldom depicted as subjects because the emphasis put on their uncommon physiognomies hushed up their intimate thoughts and emotions and turned them into mere objects.

The crucial importance given to monsters' physical singularities can be ascribed to their being interpreted as signs which a superior entity - Nature or God - sent to Earth to warn humans of impending catastrophes. This interpretation was not an early modern creation as is shown by the Greek "teras" and Latin "monstrum" which both meant a monster, something abnormal, and a sign, a warning (Céard, 1996, vii). And yet, it became particularly rife in the aftermaths of the Reformation when European populations anxiously looked for signs that would help them grasp what God approved or disapproved of. In this context, monsters' bodies played a particularly crucial part since they were sometimes thought to bear the marks of the practices God condemned. The excess of flesh around the neck of a child born in 1566 was thus interpreted as God's disapproval of ruffs while the downward-looking eye on the knee of a monster, which was allegedly born in 1512 in the city of Ravenna, was believed to condemn humans' ungodly interests in terrestrial things (H.B., 1566, 1 and Boaistuau, 1961, 308-310). At a time when religion was a source of personal and national anxiety, the messages that monstrous men and women's bodies were thought to bear were thus given such visibility that it left no space for their intimate thoughts and emotions to be heard.

Such focus on these physical singularities at the expense of the subject did not only result from the anguished search for religious answers. It also derived from the early modern taste for the curious and the extraordinary.

The eagerness of early modern populations to glimpse monstrous bodies led to the proliferation of the places where they were exhibited, like fairs, taverns, private houses but also European courts. Velasquez's 1656 painting Las Meninas, picturing the Infanta next to a dwarf, or Thomasina, a small person who was one of Elizabeth I's ladies-in-waiting, show that it was frequent for people of unusual sizes to live with royal families (Thornton Burnett, 2002, 21). The cabinets of curiosities which emerged and flourished in the sixteenth century also became places where monstrous specimens were often seen, as is shown by the presence of a two-headed dog and of a six-legged lizard in the frontispiece to Ferrante Imperato's 1599 work of natural history, Dell'Historia Naturale, representing the naturalist's personal collection of rarities.

Yet again, the way monsters were displayed in all these places enhanced their physical singularities. At the court of Henrietta Maria of France, the bodies of Jeffrey Hudson, an unusually small man, and of William Evans who was unusually tall, appeared side by side in performances in order to stress their uncommon sizes and to divert the audience (Brown, 2015, 143). The entertaining value of monstrous bodies was such that monsters were sometimes deprived of the status of subjects and treated as mere commodities, which people paid to catch a glimpse of in fairs or even purchased and displayed in their private collections to study them but also to please their visitors (Thornton Burnett, 2002, 11-13). The Swiss tourist Thomas Platter thus reports that Walter Cope, an English government official, had acquired the horn which had grown on a woman's head and exhibited it in his private collection in London (1937, 172).

In the early modern period, monstrous men and women were therefore denied the status of subjects because of the focus on their unusual bodies interpreted as divine warnings or treated as entertaining objects. Shakespeare consequently introduces an innovative treatment of the monstrous identity in his staging of Bottom and Caliban as feeling and thinking entities, an unusual characterisation I will now study.

2. Seeing through a monster's eyes

In A Midsummer Night's Dream and The Tempest, Shakespeare stages Bottom and Caliban as subjects as he reverses the one-way perspective built in the early modern texts and places where monsters mostly appeared in the position of the observed. On the Elizabethan and Jacobean stages, the monstrous hybrids share their intimate thoughts, emotions and perceptions, and thus become the observers through whose eyes the world is perceived.

The intimate experience that monsters have of their strange bodies is shared with the audience, as Caliban and Bottom voice their physical sensations. While Prospero's slave expresses the daily pains he undergoes as he is bitten and pinched by malevolent spirits (II. 2. 8-14), Bottom mentions how itchy his hairy face feels ("If my hair do but tickle me, I must scratch," IV. 1. 24-25), tells the audience the strange type of food he craves ("Methinks I have a great desire to a bottle of hay," IV. 1. 31-32), but also his sudden drowsiness ("I have an exposition of sleep come upon me," IV. 1. 36-37).

The stage also becomes a unique platform for the monsters' affective and emotional reception of the world and of others to be heard. Mistaking Stephano for one of Prospero's spirits, Caliban expresses his fear as he begs him: "Do not torment me!" (II. 2. 53). The hybrid's emotion then materialises in his shaking, which the butler repeatedly notices: "This is some monster of the isle with four legs who hath got, as I take it, an ague" (II. 2. 61-62), "He's in his fit now" (II. 2. 69) or "this will shake your shaking" (II. 2. 77-78). First afraid, Caliban then experiences different emotions as he grows better acquainted with Trinculo and Stephano. The two buffoons become a source of wonder for the hybrid, which appears in his describing them as "fine things" (II. 2. 107) and "wondrous" (II. 2. 155), and of joy, an emotion that the monster enthusiastically voices: "Thou mak'st me merry. I am full of pleasure" (III. 2. 109). Caliban also shares with the audience the specific affective bond that connects him to his island. Describing it as "full of noises, sounds and sweet airs that give delight and hurt not" (III. 2. 128-129), he reveals his unique aesthetic appreciation of the place and the pleasure its harmonious tunes inspire in him.

In A Midsummer Night's Dream, the playhouse similarly becomes a place where Bottom can express his emotional responses to others. As he re-enters the stage, unaware of his monstrous transformation into a hybrid, he experiences fear. Just like his companions, he scurries out in his fright [1]. Coming back onstage, he shares his bewilderment with the audience as, abandoned in the Athenian wood, he asks to himself: "Why do they run away?" (III. 1. 100) and tries to understand his companions' reactions: "I see their knavery. This is to make an ass of me, to fright me" (III. 1. 106-107).

Through the expression of their physical sensations and of their special affective and emotional relationships with others, Bottom and Caliban are thus staged as feeling entities. But they also prove sensible as they share with the audiences their intimate thoughts. Bottom is surprisingly wise when he tells Titania his reflections on love: "reason and love keep little company together nowadays" (III. 1. 127-128), a statement which aptly describes what occurs onstage, while Caliban sagaciously reckons it was foolish of him to follow Stephano: "What a thrice-double ass / Was I to take this drunkard for a god / And worship this dull fool!" (V. 1. 297-299).

3. Compassion, a new emotional response to monsters

In their ground-breaking study, Wonders and the Order of Nature, 1150-1750, Lorraine Daston and Katharine Park showed that monsters elicited three major emotions in the sixteenth and seventeenth centuries. They would terrify when they were considered as divine portents warning sinful humans of an upcoming catastrophe, amaze when they were thought to be evidence of God's boundless creativity or repel when they were deemed to be errors of nature (Daston & Park, 1998, 173-214). Shakespeare captures some of these emotions in A Midsummer Night's Dream and The Tempest. When he comes back onstage after his monstrous metamorphosis, Bottom terrifies his companions who run away crying out: "Oh, monstrous! Oh, strange! We are haunted! Pray, masters! Fly, masters! Help!" (III. 1. 92-93). In The Tempest, Caliban first frightens Stephano who believes his monstrous body is the work of some devil of the isle ("Have we devils here?" II. 2. 54), before inspiring wonder in the butler who admiratively calls him: "A most delicate monster!" (II. 2. 83). If the characters' affective responses to Caliban and Bottom capture the fear and wonder monsters usually inspired in the early modern period, another emotion is elicited from the audience. As they are told the hybrids' emotions and experiences, the spectators can identify with them, share their affects and thus foster compassion for them.

Even though one cannot help but smile at Bottom's ridiculous hybrid body, and especially at the puns the polysemy of "ass," meaning both a donkey and an idiot, gives rise to, his monstrous transformation also renders him somewhat touching as his growing emotional and physical isolation reinforces his bewilderment. Unaware of his metamorphosis, Bottom's lack of understanding heightens his confusion whereas his companions' fear progressively fades away. Coming back onstage, Snout expresses incredulity rather than fear at the sight of the hybrid: "O Bottom, thou art changed! What do I see on thee?" (III. 1. 102), while Peter Quince's rational statement, "Thou art translated" (III. 1. 105), suggests that his terror has vanished. Unlike his companions, Bottom's confusion and bewilderment do not peter out as his questions ("Why do they run away?" III. 1. 100; "What do you see?" III. 1. 103) remain unanswered. His intellectual and emotional isolation becomes physical when Snout and Peter Quince leave the stage and abandon him in the heart of the wood where a tormenting spirit abides. Left alone on the stage, unable to understand the craftsmen's sudden panic and words, he resorts to child-like tricks to regain his composure: "I will walk up and down here, and I will sing, that they shall hear I am not afraid" (III. 1. 108-109). Singing, pacing the stage, the hybrid appears like a forlorn child, tricked by malevolent playmates, a resemblance which his words reinforce: "this is a knavery of them to make me afeard" (III. 1. 100-101) and "I see their knavery: this is to make an ass of me, to fright me if they could" (III. 1. 106-107).

In face of Bottom's loneliness and bewilderment, the audience's laughter may therefore be tinted with compassion especially as the character's resemblance to a child, maliciously tormented by others, lays bare his vulnerability.

When, alone onstage, Caliban enumerates the violent chastisements he repeatedly undergoes, he inspires a similar emotional response in the audience:

For every trifle are they [Prospero's spirits] set upon me,

Sometime like apes that mow and chatter at me

And after bite me; then like hedgehogs, which

Lie tumbling in my barefoot way, and mount

Their pricks at my footfall; sometime am I

All wound with adders, who with cloven tongues

Do hiss me into madness. (II. 2. 8-14)

As it unravels, the list of the harsh treatments the monster suffers from spurs the audience's compassion. The violence of the punishments, their regularity, the physical and psychological pains they cause, giving the monster no respite, blatantly lay bare Prospero's cruelty. The very shapes of the spirits which torture him put the finishing touches to the harshness of the chastisements as their bodies are composed of animals which often appeared as a monstrous bestiary in Shakespeare's plays. In Macbeth, for instance, the apes, hedgehogs and adders are all ingredients of the Weird Sisters' horrific hell broth (IV. 1. 1-54). Taking the shapes of monstrous beasts, the dreadful hybrids sent to torture Caliban turn his harsh castigation into nightmarish ordeals, thus prompting the spectators to think, without Trinculo's irony that Caliban is indeed a "poor monster" (II. 2. 149). The jester also proves particularly cruel to Prospero's slave as he expresses the unjustified urge to hurt him: "I could find in my heart to beat him" (II. 2. 147), and repeatedly insults him, calling him, for instance, "a very shallow monster" (II. 2. 135), "a very weak monster" (II. 2. 136), "a perfidious and drunken monster" (II. 2. 141-142), "a most scurvy monster" (II. 2. 142), "an abominable monster" (II. 2. 149-150) or "a most ridiculous monster" (II. 2. 156). Trinculo also draws a derogatory portrait of Caliban when he describes him as "a puppy-headed monster" (II. 2. 145-146), an expression which calls to mind the monstrous race of the cynocephali, also commonly known as the "dog-headed men" in the early modern period. Substituting "dog" with "puppy," Trinculo ridicules Caliban as he turns him into a lesser, more immature version of the hybrid. But in doing so, Trinculo also unwittingly spurs the audience's compassion for Caliban since his association with a puppy develops in the rest of the scene and renders him somewhat touching.

The eagerness of Caliban to please Stephano furthers his resemblance to a young devoted dog as he promises to hunt for him ("I will fish for thee," II. 2. 152; "I'll get thee / Young scamels from the rock," II. 2. 162-163), to dig holes in the ground for him ("I with my long nails will dig thee pig-nuts," II. 2. 159) and even more significantly to fetch him wood sticks, an action he now refuses to perform for his former master, Prospero: "I'll... get the wood enough... I'll bear him no more sticks but follow thee" (II. 2. 152-154). Thus, Trinculo's insult triggers an association between Caliban and a young dog which changes the emotional reception of the monster as, appearing as a faithful puppy that is eager to please his master, he becomes quite touching.

Staged as feeling and thinking subjects with whom the audience can empathise, Caliban and Bottom no longer appear as mere bodies which one scrutinizes to decipher God's will or to be entertained. In A Midsummer Night's Dream and The Tempest, they become alter egos thanks to whom the spectators can glance at their own human condition, as the final part of this paper will show.

4. Monsters as mirror images of the human condition

In his Essays, Michel de Montaigne observes:

Je n'ay veu monstre et miracle au monde plus expres que moy-mesme. On s'apprivoise à toute estrangeté par l'usage et le temps; mais plus je me hante et me connois, plus ma difformité m'estonne, moins je m'entens en moy (2004, 1029).

Habits, customs make one more familiar with external phenomena but, according to Montaigne, the "I" always remains strange, deformed and protean, just like a monster. In Shakespeare's plays too, the audience can glimpse the ineluctable mutability of the human self in the monstrous.
In A Midsummer Night's Dream and The Tempest, the monstrous characters aptly epitomize the chameleonic nature of humans. The sundry animals conjured up to describe Caliban, alternatively called a tortoise ("come, thou tortoise," I. 2. 316), a fish ("a fish, he smells like a fish," II. 2. 24-25), and a cynocephalus ("this puppy-headed monster," II. 2. 145-146) render the character's hybridity difficult to grasp. The indeterminacy of Caliban's physical singularities may explain why the other characters often refer to him as the "mooncalf" (II. 2. 99, II. 2. 103, II. 2. 125, III. 1. 19 and III. 1. 20), a term the OED defines as "a deformed animal, a monster" and which therefore stresses his strange aspect without specifying where his monstrosity lies. Such indeterminacy and the ensuing impossibility to assign Caliban to a clear-cut category encapsulate the mutability of human identity, which is, like the body of the monster, never definite.

The song Bottom woefully sings after his monstrous transformation, also sheds light on this changeability:

The ouzel cock so black of hue,

The throstle with his note so true,

The wren with little quill - (III. 1. 110-113)

Here, a defining trait is ascribed to each bird. Be it a colour, a song or the shape of their feathers, they all can be recognized thanks to immutable traits. In the light of Bottom's sudden transformation as a monster, of his radical physical alteration, the song establishes a sharp contrast between the unchangeability of animals, their stable characteristics, and the threat which always looms over our human heads to be "translated" (III. 1. 105), to undergo radical changes.

In A Midsummer Night's Dream and The Tempest, monstrosity thus allows Shakespeare to shed light on the ineluctable mutability of human identity as the stress on the indeterminacy of Caliban's hybridity and Bottom's radical metamorphosis into a monster lay bare its indefinite and unstable nature.

Conclusion

In A Midsummer Night's Dream and The Tempest, the ontological and emotional gap which separated monsters from other humans in the early modern period is bridged as Caliban and Bottom appear surprisingly close to the other characters and, even more significantly, to the audience. Just like them, they are feeling and thinking subjects who experience complex emotions, have their unique perception of the world and intimate thoughts. In face of such ontological closeness, a new emotion arises. Identifying with monsters, the spectators suddenly feel compassion for them as they witness their distress onstage. From mere bodies which one scrutinizes to decipher God's will or to be entertained, they thus become alter egos thanks to whom one can catch a glimpse of the ineluctable mutability of the human self.

Notes

[1] In the First Folio version of 1623, the stage direction indeed reads: "the clowns all exit" (III. 1. 93).

Bibliographie
Sources primaires
BOAISTUAU, Pierre. 1961 (1560). Histoires prodigieuses. Paris : Club français du livre.

H.B. 1566. The true discripcion of a childe with ruffes borne in the parish of Micheham in the cou[n]tie of Surrey in the yeere of our Lord. M.D.LXvi. Londres : Iohn Allde and Richarde Iohnes. http://eebo.chadwyck.com.acces.bibliotheque-diderot.fr. Consulté le 24/07/2018.

MONTAIGNE, Michel de. 2004 (1580). Les Essais. Paris : Quardrige.

PARÉ, Ambroise. 1841 (1573). Des Monstres et prodiges. Paris : J.-B. Baillière. https://gallica.bnf.fr/ark:/12148/bpt6k61149766/f41.item.texteImage. Consulté le 24/07/2018

PLATTER, Thomas. 1937 (1599). Thomas Platter's Travels in England, 1599. Londres : Jonathan Cape.

SHAKESPEARE, William. 2016 (1623). The Norton Shakespeare, 3rd Edition : Digital Edition. New York : W. W. Norton & Company. https://digital.wwnorton.com/3013. Consulté le 24/07/2018.
Sources secondaires
BROWN, Pamela Allen. 2015. "The Mirror and the Cage: Queens and Dwarfs at the Early Modern Court", dans Historial Affects and the Early Modern Theater, éd. Ronda Arab, Michelle Dowd, Adam Zucker, pp. 137-151. New York: Routledge.

CÉARD, Jean. 1996. La nature et les prodiges : l'insolite au XVIème siècle. Genève : Droz

DASTON, Lorraine et PARK, Katharine. 1998. Wonders and the Order of Nature, 1150-1750. New York : Zone Books.

THORNTON BURNETT, Mark. 2002. Constructing 'Monsters' in Shakespeare Drama and Early Modern Culture. New York : Palgrave Macmillan.
" Pour aller plus loin "
BATES, Alan W. 2005. Emblematic Monsters : Unnatural Conceptions and Deformed Births in Early Modern Europe. Amsterdam : Rodopi.

HUET, Marie-Hélène. 1993. Monstrous Imagination. Cambridge : Harvard University Press.

KAPPLER, Claude-Claire. 1988. Monstres, démons et merveilles. Paris : Payot.

LECOUTEUX, Claude. 1993. Les monstres dans la pensée médiévale européenne. Paris : Presses de l'Université Paris - Sorbonne.

LUNGER KNOPPERS, Laura et LANDES, Joan B., éd. 2004. Monstrous Bodies / Political Monstrosities in Early Modern Europe. New York : Cornell University Press.

MITTMAN, Asa S., et DENDLE, Peter J., éd. 2012. The Ashgate Research Companion to Monsters and the Monstrous. Farnham : Ashgate Publishing Limited.

RAZOVSKY, Helaine. 1996. "Popular Hermeneutics: Monstrous Children in English Renaissance Broadside Ballads." Early Modern Literary Studies 2.3 : 1-34. https://extra.shu.ac.uk/emls/02-3/razoball.html#. Consulté le 24/07/2018.

WALTRAUD, Ernst, éd. 2006. Histories of the Normal and the Abnormal: Social and Cultural Histories of Norms and Normativity. Oxford: Routledge.

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"I, poor monster" ("Twelfth Night", II. 2. 33): Monsters as Subjects in "A Midsummer Night's Dream" and "The Tempest"

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This paper aims to study how the unusual characterisation of Caliban and Bottom as feeling and thinking subjects in Shakespeare's ((A Midsummer Night's Dream)) and ((The Tempest)) provokes the emergence of compassion, an emotion which monsters seldom inspired in the early modern period and which invites the audience to catch a glimpse of the mutability of human identity in these two monstrous characters.

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One of the unique things that visual artists can do is make visible those things that are otherwise invisible-whether that's intellectual concepts, or psychological states, or the movement of air. They can take metaphors and visualize them, make them feel real and concrete. They can turn a pun into a picture. For a long time in Western art, however, there was a limit to the kinds of visualizations many artists undertook. Usually they were confined to the realm of allegory, creating an anthropomorphized version of an intellectual concept, like charity or poetry. More sensational and experimental visualizations of concepts weren't high-minded enough for the Western artistic establishment-but there were always exceptions, and in eighteenth-century Britain, that exception was Henry Fuseli. Fuseli was a Swiss-born artist who came to be known for tackling particularly scandalous subject matter. He painted the erotic and the disturbing, and sometimes both at once, as he did in the painting we'll discuss in this episode, entitled The Nightmare. The Nightmare, especially the version currently at the Detroit Institute of Arts, became a symbol of the type of Gothic horror that was becoming popular around the end of the eighteenth and the beginning of the nineteenth centuries. It's often closely associated with Mary Shelley's science fiction masterpiece Frankenstein. But it's not just an encapsulation of a genre particular to Regency Britain-it references much older and more deeply rooted horrors, and foreshadows many of the tropes we see in more modern horror content today. Turn off the lights, let your imagination run wild, and let's explore the terrors of Henry Fuseli's The Nightmare.

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A description of Henry Fuseli's The Nightmare, oil on canvas, 1781.

A pale blonde woman lies limply on a bed, her body positioned so that her head, arms, and upper torso hang down off the bed at the far right of the picture. She is wearing a simple white dress. On her abdomen crouches a small, deformed, humanoid creature with bulging eyes, pointed ears, and a bald head. It looks straight at the viewer. The entire room is hung with deep red curtains, which match the mussed red covers on the bed. The creature's shadow falls on one of these red curtains, right next to where the curtains part in the left half of the image to reveal a black horse poking its head through. The horse's mane is wild, its mouth is open, and its eyes are a solid white. In the foreground at the far left of the painting is a nightstand with two bottles and a couple of boxes, giving the viewer a sense that, despite the fantastic nature of the scene, this horror is taking place in a real person's bedroom.

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This painting is definitely weird-it was weird in 1781, and it's weird now. And its creator, Henry Fuseli, was also considered pretty weird. Born in Switzerland, he had a brief career as a writer and translator in London before he decided to dedicate his career to art. Throughout his artistic career he maintained a disdain for the approach of more mainstream British painters like Sir Joshua Reynolds, and instead focused on dramatic, expressive images, many of which depict the supernatural or the fantastical. All this is evident in The Nightmare, from the unrealistic angle of the unconscious woman's body, to the dramatic contrasts of light and shadow, to, of course, the incubus and spectral horse that make this so totally unlike most of the other art of the eighteenth century. There is a sense that Fuseli consciously cultivated this uniqueness- The Nightmare was one of hundreds of paintings submitted to the annual exhibition of Britain's Royal Academy of Arts, where every artist in Britain who wished to make a name for themselves showed their work. Unlike most art galleries and museums today, the paintings at the RA exhibition weren't hung in one single row, evenly spaced out to allow each painting its due. Instead, they were hung virtually from floor to ceiling, packing as many pictures as possible into one gallery. This meant that the paintings that got the most attention tended to either be the biggest or the most sensational. In eighteenth century Britain, this often meant that large-scale portraits of aristocrats or other famous people got pride of place, while other types of painting were likely to be overlooked. Fuseli appears to have been keenly aware of this problem, and used his flair for the dramatic to his advantage, submitting images to the Academy for several years in a row that were intended to scandalize or challenge norms. Often, he drew on works of literature for his subject matter, usually Shakespeare's plays or John Milton's epic Paradise Lost. What was unique about The Nightmare, however, is that it didn't seem to be drawn from any literary source at all. Fuseli had done something like this before, when he submitted a painting to the 1780 exhibition featuring characters he had invented, characters that nonetheless looked like they could have stepped right out of some epic medieval tale. But The Nightmare had no pretensions of being an illustration of literature. And that was deeply disconcerting to many, including one reviewer, who called it, quote, "a strange enthusiastic whim...[that] appear[s] to be the artful effusions of a distempered brain." End quote. Another reviewer had a much more favorable take, calling The Nightmare, quote, "not only well-conceived, but well-executed...The whole produces the effect very powerfully." End quote. The Nightmare was polarizing, and yet, it seemed to immediately cement itself in the popular imagination as a quintessential image of horror and the dream state.

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While many viewers at the time couldn't identify a specific source or point of origin for The Nightmare, Fuseli's focus on the supernatural elements of British folklore in his larger body of work has allowed art historians to propose some other influences that may have led to the creation of The Nightmare. These ideas are also based to some extent in a poem that was printed alongside the image when it was copied and sold in print form. Fuseli's friend Erasmus Darwin-the botanist and grandfather of Charles-wrote the following lines to accompany the print version of The Nightmare:

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"So on his NIGHTMARE through the evening fog

Flits the squab fiend o'er fen, and lake and bog;

Seeks some love-[be]wildered maid with sleep oppressed,

Alights, and grinning sits upon her breast."

The poem was published with these further lines in newspapers and literary magazines:

"Such as of late amid the murky sky

Was marked by Fuseli's poetic eye:

Whose daring tints, with Shakespeare's happiest grace,

Gave to the airy Nothing, form and place.

Back o'er her pillow sinks her blushing head,

Her snow-white limbs hang helpless from the bed;

While with quick sighs and suffocative breath,

Her interrupted heart-pulse swims in death.

Then shrieks of captured towns, and widows tears,

Pale lovers stretch'd upon their blood-stain'd biers;

The headlong precipice that thwarts her flight,

The trackless desert, the cold starless night;

And stern-eyed murtherer [sic] with his knife behind,

In dread succession agonies her mind,

O'er her fair limbs convulsive tremors fleet,

Start in her hands, and struggle in her feet;

In vain she wills to run, fly, swim, walk, creep-

The will presides not in the bower of sleep.

Squat on her breast the ponderous demon clings,

Mocks all her groans, and flaps his leathern wings."

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If we take the poem as an explanation of the image, it becomes clear that this is not just any nightmare being depicted, but a very specific form of nightmare. Erasmus Darwin later wrote in 1789 that, quote, "when there arises in sleep a painful desire to exert the voluntary motions, it is called the Nightmare or Incubus." End quote. This is not only a bad dream-it could be a depiction of night terrors or, as art historian John F. Moffitt suggests, demonic possession. This second idea is further supported by the fact that the little creature sitting on the woman's chest is referred to repeatedly in contemporary reviews and later art historical studies as an incubus, a masculine demon that is "supposed to descend upon persons in their sleep, and especially to seek carnal intercourse with women." The sexual dimension of the whole concept is enhanced by both the image and the poem: the setting, with its lush draperies, mussed bedclothes, and woman clad in a filmy chemise, brings to mind bedroom activities. The language of the poem emphasizes the same thing, with terms like love-bewildered, blushing, quick sighs, pale lovers, and "convulsive tremors" in the woman's "fair limbs". The horrific is combined with the sensual, made possible by a fairly plain reference to a demon who performs his mischief through sexual means.

The concept of the incubus does pop up in literature, specifically the literature of witchcraft, according to Moffitt. Since around 1486, when Heinrich Kramer and Jacob Sprenger published the Malleus Maleficarum, or The Hammer of Witches, which became the primary witch-hunting manual for religious zealots of the time, subsequent authors interested in the phenomenon of witchcraft had continued to publish on the subject, and drew much of their information from the Malleus Maleficarum. Moffitt points specifically to an encyclopedia of demons written by Italian priest Ludovico Maria Sinistrari and published in 1754. While we can't be sure that Fuseli knew specifically about Sinistrari's encyclopedia when he conceived the Nightmare, it is within the realm of possibility, especially since Fuseli was well-educated and had originally intended to become a minister, which may have put him in contact with some more obscure religious texts. Whether or not late eighteenth century viewers would have been aware of the specific pedigree of the "squab fiend" in The Nightmare, knowing about it adds an extra dimension of the macabre and the mysterious to the image.

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The Nightmare's possible connections to a history of the horrific are almost as interesting as its real connections to the increasingly popular Gothic literature of the late eighteenth century and, ultimately, what we consider horror media today. The Gothic novel emerged at the end of the 18 th century as an even more scandalous form of an already morally dubious genre: the novel. If more conservative members of society felt novels were of little moral value or a waste of young people's time and intelligence, Gothic novels were positively degenerate, an accusation that was not totally unfounded, given the fact that Gothic literature was usually far more sensual than the average book. Martin Myrone, lead curator of British art to 1800 at the Tate Gallery in London, discusses how some of the criticisms leveled at Fuseli were also leveled at Gothic literature: both were described as "libertine," and their common interest in the dramatic, the sensational, and the transparently erotic were "self-evident." Myrone attributes the increasing interest in the brand of spectacular drama presented by both Fuseli and Gothic authors to a frustration with the "high-minded," "heroic" art of earlier on in the century, when the Enlightenment was in full swing and Rationalism prevailed. The Gothic, says Myrone, quote, "took shape as a means of conveying heroic sentiments in a spectacular fashion." End quote. Heroism and idealism were beginning to seem more like folly than a reality that could be achieved, so it was easier and more appealing to cast them in theatrical terms than to try and frame them realistically.

The Nightmare takes a long-standing motif-the fainting damsel-and sets it in a theatrical context, complete with red backdrop curtains. But this is not any ordinary damsel-in-distress situation: the danger is not lurking just off to the side, but front and center. The incubus looks straight at the viewer, almost mockingly, knowing that the viewer cannot enter the picture plane and rescue the woman. It plays on the anxiety created by the absence of a hero, the absence of resolution or salvation. This ambiguity and anxiety made The Nightmare a perfect point of inspiration for others interested in the Gothic and the horrific, most notably Mary Shelley and her masterpiece Frankenstein: or, The Modern Prometheus, published in 1831. The painting is quite clearly evoked in the scene in which the Creature murders Victor Frankenstein's wife Elizabeth, particularly the following passage:

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"She was there, lifeless and inanimate, thrown across the bed, her head hanging down and her pale and distorted features half covered by her hair. Everywhere I turn I see the same figure-her bloodless arms and relaxed form flung by the murderer on the bridal bier...While I still hung over her in the agony of despair, I happened to look up. The windows of the room had before been darkened, and I felt a kind of panic on seeing the pale yellow light of the moon illuminate the chamber. The shutters had been thrown back, and with a sensation of horror not to be described, I saw at the open window a figure the most hideous and abhorred. A grin was on the face of the monster; he seemed to jeer, as with his fiendish finger he pointed towards the corpse of my wife. I rushed towards the window, and drawing a pistol from my bosom, fired; but he eluded me, leaped from his station, and running with the swiftness of lightning, plunged into the lake."

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This is not just a spooky coincidence of imagery: Mary Shelley was well aware of Fuseli and The Nightmare, more so than most because her mother, Mary Wollstonecraft Godwin, had had an affair with Fuseli. What the exact nature of the affair was remains unclear, but Mary Wollstonecraft, author of the proto-feminist text A Vindication of the Rights of Woman, and her husband William Godwin were political radicals who frequented the same circles as Fuseli. At some point, Mary Wollstonecraft even wrote Fuseli a number of love letters that her daughter tried to get back from Fuseli after her death. Maryanne C. Ward, in an article on the links between The Nightmare and Shelley's Frankenstein, argues that Mary Shelley's familial connections to Fuseli further informed her use of Nightmare-like imagery in Frankenstein. Specifically, Ward asserts that Mary Shelley associated her mother's affair with Fuseli with her death and subsequent disgrace as a result of intimate details of Wollstonecraft's life being revealed in William Godwin's posthumous memoir. Ward elaborates on this, saying, quote: "...The painting reflects...Mary Shelley's thematic linking of sex...and death. The painting is darkly erotic and is linked to her mother's earliest sexual experience. At the same time, the image suggests violation and/or death and was created by the man who in Mary Shelley's mind helped put an end to her mother's literary life. Her mother was certainly one of the women whom Fuseli's incubus touched, and the result was perhaps sex, but most certainly literary obscurity, the death of her work and influence." End quote. Ward frames Fuseli himself as the incubus, which is somewhat in keeping with commentary from the late eighteenth century that characterized the Swiss painter as wild, mad, or even as a disease: artist Maria Cosway was said to have "caught the Fuzeli" because her style was so heavily influenced by his. To make matters even creepier, a number of art historians cite a passage in one of Fuseli's early letters as a possible inspiration for the painting. In it, the young Fuseli expresses a fantasy about a woman he'd fallen in love with named Anna, who was about to marry someone else. This sentence in particular is eerily reminiscent of his later painting: quote, "Last night I had her in bed with me-tossed my bedclothes hugger-mugger-wound my hot and tight-clasped hands about her-fused her body and her soul together with my own-poured into her my spirit, breath, and strength." End quote. Fuseli's fantastical painting has links to real-life desires, in particular tragic and unrequited desires. And whether Fuseli saw himself as the incubus in The Nightmare or not, the sexual dimension of the painting has followed it through the ages beyond its early reference in Shelley's Frankenstein.

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Among the many contexts in which The Nightmare has been referenced is in a story by everyone's favorite spooky guy, cousin-kisser, and substance-abuser Edgar Allan Poe, whose short story "The Fall of the House of Usher" contains a direct reference to Fuseli's work:

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"From the paintings over which his elaborate fancy brooded, and which grew, touch by touch, into vagueness at which I shuddered the more thrillingly, because I shuddered knowing not why-from these paintings (vivid as their images now are before me) I would in vain endeavor to educe more than a small portion which should lie within the compass of merely written words. By the utter simplicity, by the nakedness of his designs, he arrested and overawed attention. If ever mortal painted an idea, that mortal was Roderick Usher. For me at least, in the circumstances then surrounding me, there arose out of the pure abstractions which the hypochondriac contrived to throw upon his canvas, an intensity of tolerable awe, no shadow of which felt I ever yet in the contemplation of the certainly glowing yet too concrete reveries of Fuseli."

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Poe's run-on sentences may make this reference a little confusing to some, but essentially the narrator finds similarities between Fuseli's work and that of his host, Roderick Usher. That Poe makes a Fuseli reference in an 1839 short story attests to how quickly Fuseli's work in general-and, most likely, The Nightmare specifically-became associated with the horror genre. In fact, The Nightmare seems to be an origin point, or at least an early concrete expression, of tropes that persist into horror stories even today. The sense that the viewer is seeing something they shouldn't, caught in the incubus's jeering gaze, is reminiscent of the moment in so many tales of terror when the audience-surrogate makes a horrifying discovery. The fainting, blonde woman could so easily be replaced by the often blonde damsels in distress of modern horror films, caught unawares in their most intimate moments by a horrible creature who is attracted to their youth, or their sexuality, or their apparent purity.

Sigmund Freud, who is known for his suspicious focus on sexuality in psychoanalysis, was apparently also attracted to the union between sexuality and horror in Fuseli's Nightmare, and allegedly had a copy of the painting hanging in his apartment. He also used the image as a frontispiece for his 1931 book On the Nightmare. Freud's emphasis on the interpretation of dreams and sex as the basis of...well, everything, makes The Nightmare kind of a perfect decoration for both his personal life and his work. The methodologies and motivations behind Freud's theories have been proven to be deeply flawed, or even, according to some, based in Freud's own denial of the prevalence of sexual assault and child abuse amongst the well-heeled people he examined. Whatever the case, The Nightmare continues to be associated with Freudian psychoanalysis and psychosexual horror, which further strengthens the painting's status as a point of origin for modern horror media.

This focus on gender and sexuality in horror is perhaps the element of Fuseli's work that has maintained the most persistent presence in modern horror. Often, horror stories are based in other societal anxieties, as I mentioned earlier in relation to eighteenth-century anxieties regarding a loss of faith in the possibility of masculine heroism and reason. The other side of that coin is, of course, anxiety over women's place in society in the absence of that type of heroism. It's a particularly gendered version of the long-standing conflict between proponents of capital-R Reason and the specter of capital-F Feeling. Without the classically-founded, masculine virtue of Reason to guide Western society to its highest point, we are in danger of succumbing to Feeling, which is traditionally feminine. Concerns around novels and the Gothic were an extension of this anxiety-this was not reasonable, moralizing, improving literature, but literature of feeling that particularly appealed to women. Anxieties about potential changes in the status of women, which Mary Wollstonecraft would later call for explicitly in her Vindication of the Rights of Woman, were likely already present when Fuseli painted The Nightmare. If we return to the idea of the incubus as expressed in literature on witchcraft, this idea becomes even more solid: incubi were said to corrupt mortal women through sex, sometimes non-consensually, but also sometimes with the woman's full consent. As John F. Moffitt acknowledges, much literature on witchcraft focuses on "demonizing" female sexuality-rather than acknowledge that women have desires just as men do, these authors would rather attribute that desire to demonic activity. Late eighteenth-century anxieties about gender and the possibility of women's place in society changing provided a perfect opportunity to create an image in which a woman's sexual experience is made horrifying, essentially warning against feminine desire in the same way witch-hunters did in their literature. For a female viewer, the image might be a cautionary tale, but for a male viewer, seeing a disheveled woman on a bed with a demon might be titillating. Similar ideas are at play in many modern horror stories: one of the most iconic images from the 1984 movie A Nightmare on Elm Street is Freddy Krueger's bladed glove emerging from the water between a teenage girl's legs as she lies in the bathtub. The controversial 1992 video game Night Trap called upon the player to keep a bunch of girls at a sleepover safe from unknown foes, while simultaneously giving the presumably adolescent player a peek at girls in their underwear, or wrapped in a towel after a shower. Young women's bodies, whether quote-unquote "pure" or sexually awakened, are consistently used as a canvas on which to enact a blend of sexuality and horror that acts as both a cautionary tale and a male fantasy all in one go. Our modern conceptions of the tropes of horror have Fuseli's Nightmare as a clear predecessor.

[Musical stinger]

Having discussed much of the context and impact of The Nightmare on horror media in general, and in terms of specific literary references, I also wanted to discuss a couple of fairly recent uses of The Nightmare in media that are perhaps less aware of the image's pedigree. The first is a 2016 horror game called Layers of Fear, in which the player walks through a house and reconstructs the story of its former occupants by picking up objects and documents, and by looking closely at their surroundings. The primary story that the player uncovers in Layers of Fear is that of a painter and his wife and child, the painter's abuse of his family and of alcohol, and his ultimate descent into madness. Throughout the seemingly never-ending house with its ever-changing architecture, the player passes by painting after painting hanging on the walls of the house, most of which are real paintings from Western art history. Among these paintings, which include works by Jan van Eyck, Rembrandt, Goya, and others, is Fuseli's Nightmare, propped up against the wall in the artist's studio, which is a place to which the player repeatedly returns in order to use macabre found objects to complete an original painting. Many of the paintings in Layers of Fear seem to have been chosen purely based on "spooky" aesthetics, rather than an actually frightening subject. One particularly amusing moment for me as an art history nerd is the use of Jan van Eyck's Portrait of a Man as a jump-scare-the player is walking through a room and turns around to see an oversized, distorted version of van Eyck's portrait of a sour-faced Dutch man in a red turban right behind them. Not exactly nightmare fuel. Other apparently "scary" paintings in the game include a seventeenth-century portrait of a court dwarf, and a sixteenth-century portrait of Tognina Gonsalvus, whose family was known for having hypertrichosis, or excessive hair growth, most notably on their faces. Of all the paintings included, Fuseli's Nightmare is probably the most appropriate for the context of the game, but all the paintings selected were chosen for their eerie or unnerving effect, proving that the shock value of The Nightmare is still there after over two centuries.

Another pop culture use of The Nightmare is in the...drama? Mystery? Soap opera? Musical? The unclassifiable hit TV show Riverdale, which is loosely based on the Archie series of comics and its many spin-offs. Season 2, episode 9 features a scene in which resident mean girl Cheryl Blossom confronts her mother in the drawing room of their mansion, which from the very beginning of the series was framed as a site of neo-Gothic horrors and secrets. Above the fireplace in that room hangs Fuseli's Nightmare, an image that is both appropriate for the mood of the mansion and for some of the conflicts that Cheryl herself encounters, including issues surrounding her own free expression of her queer sexuality. A number of scenes in season 2 of the series take place in Cheryl's bedroom, which features red curtains and a red velvet headboard on the bed, just like the red-draped room in Fuseli's Nightmare. She begins to explore her feelings for another girl in that bedroom, feelings for which she is ultimately punished by being sent away to conversion therapy-her sexuality is stifled, and what takes place in her bedroom is framed as taboo. Her bedroom is also the site where a serial killer attempts to murder her, only for her to climb out the window. She is briefly trapped in that red-draped space by an evil force, but she manages to escape it. That brief entrapment echoes the larger trap of the entire mansion and her abusive family, from which she also manages to escape by the end of season 2. Just like the woman in Fuseli's Nightmare, evil forces take turns holding her down and stifling her power and agency, but while the fainting damsel is forever suspended in that trap, Cheryl escapes her nightmare.

Clearly, Fuseli's Nightmare still has power in terms of the horror, or at the very least, the eeriness it can evoke in viewers. The specific anxieties of the late eighteenth century may not necessarily be in play for contemporary viewers of the painting, but we can very easily see other cultural anxieties represented in the squat little demon's harassment of the damsel. Sexual assault and women's structurally enforced lack of power in many different spaces and situations could be one of these anxieties, as could deep-seated white anxieties about the victimhood of white women at the hands of men of color, who have been historically characterized in Western media as "beastly" or otherwise non-human. It could be seen as reflective of mainstream heterosexual anxieties about queer sexuality: many of the realities of queer sexuality are viewed as incomprehensible or even unnatural, for one thing, and queer people have often closely identified or been likened by others to monsters in fiction, such as vampires or even the Beast in Beauty and the Beast. Throughout it all, The Nightmare's potential to shock and unnerve persists, partly as a result of its repeated use in a variety of media as a shorthand for a Gothic brand of horror that plays with ideas of sexuality. It's a thing that cannot be killed, that keeps coming back again and again because it keeps being relevant, because someone somewhere still clutches their pearls at the sight of it. Just as Frankenstein is the mother-text of modern science fiction, we could also call The Nightmare the mother-image of modern horror, the place from whence it all began.

[Theme music plays and fades down]

Thanks so much for listening to Art History for All! You can find a transcript of this podcast with links to images and citations at arthistoryforall.com. You can follow us on Twitter at arthistory4all, with the number 4. You can subscribe to the podcast feed on Apple Podcasts, Stitcher, or RadioPublic and go ahead and rate it or tell your friends about it! Good ratings and word of mouth help us help more people engage with art history. If you really, REALLY like the podcast, please feel free to leave a tip on Ko-Fi, at ko-fi.com/arthistoryforall.

This podcast was produced and narrated by me, Allyson Healey. The theme was composed by Bruce Healey. Credits for other background and interstitial music can be found in the podcast description or at the end of the transcript. Stay tuned for the next episode at the end of November, and remember to look closely: you never know what you might see.

[Theme music fades up, then fades out]

Footnotes

"Royal Academy." Gazetteer and New Daily Advertiser. May 1, 1782. 17th-18th Century Burney Collection Newspapers. Gale Digital Collections, sourced from the British Library. Gale Document Number Z2000396004.

Myrone, "Henry Fuseli and Gothic Spectacle," 296.

Myrone, "Henry Fuseli and Gothic Spectacle," 296.

Edgar Allan Poe, "The Fall of the House of Usher," via Project Gutenberg. Released June 1997. Posted December 15, 2010. http://www.gutenberg.org/files/932/932-h/932-h.htm

Wikipedia contributors, "The Nightmare," Wikipedia, the Free Encyclopedia, 20 September 2018, accessed 25 September 2018. https://en.wikipedia.org/wiki/The_Nightmare

Additional Music Credits:

"Fog" by Sergey Cheremisinov, via freemusicarchive.org. Licensed under a Creative Commons Attribution 4.0 License.

"Nightcrawlers" by Parvus Decree, via freemusicarchive.org. Licensed under a CC0 1.0 Universal License.

"Farewell the Innocent" by Ars Sonor, via freemusicarchive.org. Licensed under a Creative Commons Attribution 4.0 License.

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Transcript of Episode 9: Fiends, Frankenstein, and Fuseli

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Ambient/electronic-style theme music plays, then fades out] One of the unique things that visual artists can do is make visible those things that are otherwise invisible-whether that's intellectual concepts, or psychological states, or the movement of air. They can take metaphors and visualize them, make them feel real and concrete.

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CO FOR FUSELI'S PAINTING DESCRIPTION ANTICIPATION

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We're getting spooky in this episode and looking at Henry Fuseli's 1781 painting The Nightmare, by far one of the eeriest paintings in Western art history! Perhaps this image reminds you of something...

You can find a transcript of this podcast at arthistoryforall.com under the Transcripts category.

Subscribe on Apple Podcasts, Stitcher, or RadioPublic!

© 2018 Allyson Healey

Theme music © 2018 Bruce Healey

Twitter: @arthistory4all

Ko-Fi: ko-fi.com/arthistoryforall

Additional Music Credits:

"Fog" by Sergey Cheremisinov, via freemusicarchive.org. Licensed under a Creative Commons Attribution 4.0 License.

"Nightcrawlers" by Parvus Decree, via freemusicarchive.org. Licensed under a CC0 1.0 Universal License.

"Farewell the Innocent" by Ars Sonor, via freemusicarchive.org. Licensed under a Creative Commons Attribution 4.0 License.

Podcast: Play in new window | Download

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Episode 9: Fiends, Frankenstein, and Fuseli

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We're getting spooky in this episode and looking at Henry Fuseli's 1781 painting The Nightmare, by far one of the eeriest paintings in Western art history! Perhaps this image reminds you of something... You can find a transcript of this podcast at arthistoryforall.com under the Transcripts category.

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Frankenstein - Thug Notes Summary and Analysis

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Language: English Mature content filter: None

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Made by Beakus - http://www.beakus.com

Un-earthing its literary origins, writer and historian Matthew Sweet uncovers the history of Dracula in this animated short for Penny Dreadful.

Commissioned by Sky, this is the last of three films to look for the inspirations behind Penny Dreadful, a major drama series created by John Logan starring Josh Hartnett, Timothy Dalton, Eva Green and Billie Piper.

Dracua:
vimeo.com/97128538
Dorian Gray:
vimeo.com/96314060

CREDITS
Commissioned by Sky
Directed by Gergely Wootsch -- gergely-wootsch.com
Animation and additional design by:
Iria Lopez -- wearewednesday.com
Daniela Negrin Ochoa -- wearewednesday.com
Joe Sparkes -- joesparkes.co.uk
Luiz Stockler -- luizstockler.com
Sound by: Marian Mentrup -- marianmentrup.com
Production manager: Laura Thomas

Special thanks to The Amsterdam Museum.

Produced by BEAKUS

gergely-wootsch.com
twitter.com/wgergely
beakus.com
penny-dreadful.com

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Chelsea Wolfe - Survive (Official Audio)

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Doué, Wilde l'était assurément : poésie, roman, nouvelles et contes, théâtre, essais critiques et journalisme, il n'est guère de domaine auquel il n'apportât sa contribution essentielle et novatrice. Rêveur des mots et magicien des songes, maître des formes et ennemi des prétentions gourmées et des médiocrités autosatisfaites, il a défendu ses convictions et rompu des lances jusqu'à se briser contre l'airain de l'ordre établi.

Le seul moyen de se délivrer d'une tentation, c'est d'y céder. Résistez et votre âme se rend malade à force de languir ce qu'elle s'interdit.

Toujours admirable ? Non pas. Mais vivant et tourmenté, délicieux et insolent, généreux et partial dans ses appréciations, ses amours et ses amitiés, selon que le vent fut bon ou mauvais. Oscar Wilde ? Un écrivain de génie et un être de désir.

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Ces cookies permettent à nos partenaires de vous proposer des publicités et des contenus personnalisés en fonction de votre navigation, de votre profil et de vos centres d'intérêt.

Lecture par Daniel Mesguich, comédien.

Textes choisis et commentés par Pascal Aquien, professeur de littérature anglaise, auteur de Oscar Wilde : Les mots et les songes.

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Oscar Wilde : "Aimer, c'est se surpasser"

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Lorsqu'il mourut en 1900, Oscar Wilde anéanti par deux années d'incarcération à la suite de sa condamnation pour "outrage aux mœurs", n'existait plus guère aux yeux du monde. Cruel et étonnant destin pour l'un des artistes les plus doués de son temps, broyé par l'hypocrisie et la bonne conscience.

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CREATION OF PROMETHEUS, LOUVRE

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Fenêtres ouvertes sur nos fantasmes, propagés depuis de siècles lors de veillées au coin du feu, les monstres questionnent notre rationalité, le visible et l’invisible, les confins du bien et du mal, et nos gouffres intimes. Hier objets de craintes sincères et de superstitions tenaces, charriés depuis la nuit des temps par les folklores païens ou les mythologies religieuses, les monstres de toutes sortes accompagnent l’histoire de l’humanité dans chacun de ses recoins.

Animaux fantastiques ou humains extraordinaires, ces créatures terrifiantes et leurs cortèges de représentations furent aussi des sources continues d'inspiration pour les musiciens, notamment aux Etats-Unis dans les années 1950-1960, en plein essor des novelty songs, ces chansons humoristiques sur des rythmes dansant, twist, cha cha, ou rockabilly, que la jeunesse s’arrachait à l’approche d’Halloween.

Jouer à se faire peur. Jouer du doute qui subsiste dans l’esprit de certains et qui interroge jusqu'aux plus rationnels quant à l’existence, au fond d’eux-mêmes, d’une faille intime. Dans cette histoire, on croisera des vagues animales, des chants maléfiques, des mastications post mortem et des miroirs sans reflets.

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Ces cookies permettent à nos partenaires de vous proposer des publicités et des contenus personnalisés en fonction de votre navigation, de votre profil et de vos centres d'intérêt.

Programmation musicale et archives

Archive pré générique : le cryptozoologue Bernard Heuvelmans dans Les Nuits Magnétiques, le 30 octobre 1980 sur France Culture

Gonjasufi : Elephant Man, de l'album Callus (2016) - fond sonore -

Archive : de l'ordre dans l'univers des monstres par Gilbert Lascault,le 21 juillet 1993 sur France Culture

Bobby (Boris) Pickett & The Crypt Kickers : Monster Mash, de l'album The Original Monster Mash (1962)

Flavien Berger : Léviathan, de l'album Léviathan (2015) - fond sonore -

Edwyn Collins : Leviathan, de l'album Home Again (2007)

Carlo Gesualdo : Padre, padre, par l'Ensemble vocal européen, dirigé par Philippe Herreweghe, album Gesualdo, Sabbato Sancto (2005) - fond sonore -

Archive : le mythe de Charybde et Scylla, extrait de l'émission Là-bas si j'y suis le 15 février 1996 sur France Inter

Björk : The anchor song, de l'album Debut (1993)

Monitor : Mokele-Mbembe, de l'album éponyme (1981) - fond sonore -

Cyril Morin : Yeti, de l'album Valley of Flowers (2007) - fond sonore -

Archive : Bernard Heuvelmans à propos du Yéti dans Radioscopie, de Jacques Chancel, le 12 septembre 1980 sur France Inter

Kid Congo & The pink monkey bird : Rare as the Yeti, de l'album Dracula Boots (2009)

Murcof & Philippe Petit : The summoning of the Kraken, de l'album First Chapter (2013) - fond sonore -

The Upperclassmen : Cha Cha with zombies, dans la compilation Monster-O-Rama, A Killer Party for Sure (Jukebox Music Factory, 2017)

Mick Vickers : Prologue Hyde Park, extrait de la bande originale du film Dracula A.D. 1972, de Alan Gibson (1972)

James Bernard : Le cauchemar de Dracula, extrait de la bande originale du film réalisé par Terence Fisher (1958) - fond sonore -

Extrait du film Dracula, réalisé par Tod Browning (1931)

Orchestra Bruno Martino : Dracula Cha Cha, de l'album Monster-O-Rama (2017)

Goblin : Dr Frankenstein, extrait de la bande originale du film Suspiria, de Dario Argento (1977) - fond sonore -

The Hollywood Flames : Frankenstein’s den, de la compilation Monsters, vampires, voodoos & spooks (2017)

John Morris : The Elephant Man theme, extrait de la bande original du film Elephant Man, de David Lynch (1980)

Extrait du film Elephant Man, réalisé par David Lynch (1980)

Archive : la comédienne Mireille Mossé dans Les Nuits Magnétiques, le 9 septembre 1994 sur France Culture

Stella : Si vous connaissez quelque chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire (1966)

The Cramps : I was a teenage werewolf, de l'album Songs the Lord taught us (1980)

Playlist à emporter

En cliquant sur "Ajouter à"... (en haut à gauche) vous pouvez récupérer tout ou partie de la playlist de cette émission sur Spotify, Apple, iTunes ou Youtube.

Remerciements particuliers à Philippe Baudouin pour ses conseils

Première diffusion le 27/10/2018

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Juke-Box joue de nos crédulités et de nos peurs pour feuilleter en musique l’album de quelques monstres célèbres.

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GOTHIC EXTRACTS (CLASSICS) TO READ

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The Fright Club Is Coming Back It’s the show where Jack Osbourne and The Ghost Brothers try to scare each other with some of the spookiest paranormal videos out. The new season will have 10 episodes and will begin on Thursday, June 30 at 10 p.m. ET on Travel Channel. Video source – Travel Channel… Continue reading Travel Channel’s Hilarious Yet Super Creepy Show Fright Clubs Season 2 Is Coming Soon

The Conjuring House Has A New Owner The iconic infamous Rhode Island farmhouse where terrifying things happen and was also the inspiration for the 2013 movie “The Conjuring” once again has a new owner. Back in 2019 a family who are also paranormal investigators purchased the property in hopes of opening it to paranormal researchers… Continue reading New ‘Conjuring House’ Owner Isn’t Allowed To Live There Year Round Because The Energy Is Too Powerful

The Creepy Doll Adoption Agency The Creepy Doll Adoption Agency is the place you go to if you want to get rid of a possessed, haunted, or creepy doll. It’s also the place to go if you want to get one and don’t know much about haunted or creepy dolls. Founders Brian and Sara are… Continue reading Want Or Need To Get Rid Of A Creepy Doll? Check Out The Creepy Doll Adoption Agency

The 24/7 Horror Movie Channel Great news for all horror film fans, all of you will be able to watch classic scary movies any time of the day. The new channel called Scream Factory TV launches on April 15. The channel will play all your favorite horror movies including an array of uncensored horror flicks.… Continue reading There’s A 24/7 Uncensored Horror Movie Channel Coming Soon!

The 80’s Horror Themed Duplex If you’ve ever dreamed of moving to California and buying a duplex that looks like something out of Stranger Things, now is your chance. The duplex located in Big Bear Lake, California has an insane horror movie decor setup. The seller is a fan of 70’s and 80’s horror as… Continue reading This California Duplex For Sale Is Like Living In Stranger Things And A 80’s Horror Movie

The Haunted Doll Shop You never know what you’re going to get when you purchase an antique doll. It might come with more than you bargained for, especially if it’s a haunted doll. Antique dealers Michael Canadas and David Robinson have been dealing with antique dolls since 1989. Then in 2009, Robinson purchased a new… Continue reading Ghost Adventures Crew Says Creepy Doll Shop Is “Beyond Haunted”

The Haunted Doll That Moves Some years back a man by the name of Gregor Stewart bought a ventriloquist doll from a dealer in California. The dealer wanted to get rid of the doll as soon as possible and for a very good reason. Apparently the doll moves even without the help of a person.… Continue reading The Haunted Ventriloquist Doll With A Mouth That Opens And Closes By Itself

The Crow Reboot Is Finally Moving Forward Since 2017 we’ve been hearing about a potential ” The Crow” remake. Since then plans for the reboot have been a complete mess. Initially, director Stephen Norrington (Blade) tried to get the ball rolling. Then Javier Gutierrez (Before the Fall) was involved in bringing it back to life.… Continue reading Bill Skarsgård To Lead The Way In The Crow Reboot

Buying A Haunted Doll The interest behind buying haunted dolls seems to keep growing as time goes on. People from all over the world keep recording videos of these haunted dolls moving and doing other creepy things. While some believe these dolls are actually haunted, others think it’s a hoax. Some believe these are just… Continue reading 10 Things You Should Know Before Buying A Haunted Doll

Stranger Things Season 4 Stranger Things is finally coming back to Netflix with a new season starting on May 27th with “Volume One” of the new season. Volume 2 of the show will then be showcased on Netflix on July 1, 2022 and promises you won’t be disappointed. One of the shows creators Ross Duffer… Continue reading Strange Things Season 4 Promises Horror Vibe and Adds Horror Icon Robert Englund To Cast

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The Fright Club Is Coming Back It's the show where Jack Osbourne and The Ghost Brothers try to scare each other with some of the spookiest paranormal videos out. The new season will have 10 episodes and will begin on Thursday, June 30 at 10 p.m. ET on Travel Channel.

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The Tim Burton Themed Restaurant

If you're a fan of any Tim Burton movie like The Nightmare Before Christmas, BeetleJuice and so, and you're planning on taking a trip to New York City sometime soon, you're in for a treat!

BeetleHouse is jam-packed with a lot of Tim Burton's famous movie memorabilia among many other famous directors, writers, and so on. The whole theme of the place is where "every day is Halloween".

They have 2 locations, one in Los Angeles, California, and the other in the heart of downtown New York City. The New York City location is rather small and can hold up to 45 people at a time. So getting in there is kind of hard and you have to make advanced reservations.

However, the one in California can seat up to 500 people and is full of different types of Halloween stuff. They also have shows and performances, and actors in costume walking around that engage with customers.

Looking to learn more about both locations? Check out their site here > BeetleHouse

Check out these videos we found about this place by Aly Skittlez and The Bitelys and let us know your thoughts!

Video Source - Aly Skittlez

Video Source - The Bitelys

Have a cool idea for us to showcase? Know somewhere strange to stay the night or that you think we should look into? Have a creepy awesome service or strange carnival/tour you think we should write about? Send us an email to [email protected]

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Inside The Tim Burton Themed Restaurant Where It's Always Halloween - Strange And Creepy

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The Tim Burton Themed Restaurant If you're a fan of any Tim Burton movie like The Nightmare Before Christmas, BeetleJuice and so, and you're planning on taking a trip to New York City sometime soon, you're in for a treat! BeetleHouse is jam-packed with a lot of Tim Burton's famous...

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DRACULA (comic book) Bram Stoker

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