Presents fictitious as well as real-life horrors.

DigiCat presents to you this unique collection, designed and formatted to the highest digital standards and adjusted for readability on all devices.Novels:The Boats of the Glen CarrigThe House on the BorderlandThe Ghost PiratesThe Night LandShort Stories:Carnacki, the Ghost FinderThe Gateway of the MonsterThe House Among the LaurelsThe Whistling RoomThe Horse of the InvisibleThe Searcher of the End HouseThe Thing InvisibleThe Haunted JarveeSargasso Sea StoriesFrom the Tideless Sea Part OneFrom the Tideless Sea Part TwoThe Mystery of the DerelictThe Thing in the WeedsThe Finding of the GraikenMen of the Deep WatersOn the BridgeThe Sea HorsesThe DerilictMy House Shall Be Called the House of PrayerThe Captain of the Onion BoatThe Voice in the NightThrough the Vortex of a CycloneThe Shamraken Homeward-BounderCaptain Gault, Being the Exceedingly Private Log of a Sea-CaptainThe Case of the Curio DealerThe Red HerringThe Drum of SaccharineOther StoriesJack Grey, Second MateDemons of the SeaOut of the StormA Tropical HorrorThe Stone Ship The Real ThingEloi Eloi Lama Sabachthani (The Baumoff Explosive)

Revised and updated since its first publication in 1990, this acclaimed critical survey covers the classic chillers produced by Universal Studios during the golden age of hollywood horror, 1931 through 1946. Trekking boldly through haunts and horrors from The Frankenstein Monster, The Wolf Man, Count Dracula, and The Invisible Man, to The Mummy, Paula the Ape Woman, The Creeper, and The Inner Sanctum, the authors offer a definitive study of the 86 films produced during this era and present a general overview of the period. Coverage of the films includes complete cast lists, credits, storyline, behind-the-scenes information, production history, critical analysis, and commentary from the cast and crew (much of it drawn from interviews by Tom Weaver, whom USA Today calls "the king of the monster hunters"). Unique to this edition are a new selection of photographs and poster reproductions and an appendix listing additional films of interest.

Between 1945 and 1965, the catastrophe of war—and the social and political changes it brought in its wake—had a major impact on the construction of the Soviet masculine ideal. Drawing upon a wide range of visual material, The Fate of the New Man traces the dramatic changes in the representation of the Soviet man in the postwar period. It focuses on the two identities that came to dominate such depictions in the two decades after the end of the war: the Soviet man's previous role as a soldier and his new role in the home once the war was over. In this compelling study, Claire McCallum focuses on the reconceptualization of military heroism after the war, the representation of contentious subjects such as the war-damaged body and bereavement, and postwar changes to the depiction of the Soviet man as father. McCallum shows that it was the Second World War, rather than the process of de-Stalinization, that had the greatest impact on the masculine ideal, proving that even under the constraints of Socialist Realism, the physical and emotional devastation caused by the war was too great to go unacknowledged. The Fate of the New Man makes an important contribution to Soviet masculinity studies. McCallum's research also contributes to broader debates surrounding the impact of Stalin's death on Soviet society and on the nature of the subsequent Thaw, as well as to those concerning the relationship between Soviet culture and the realities of Soviet life. This fascinating study will appeal to scholars and students of Soviet history, masculinity studies, and visual culture studies.

DigiCat presents to you this unique Halloween collection of the greatest horror classics, the darkest mysteries and supernatural tales: H. P. Lovecraft: The Dunwich Horror. From Beyond... Washington Irving: The Legend of Sleepy Hollow Rip Van Winkle The Spectre Bridegroom James Malcolm Rymer & Thomas Peckett Prest: Sweeney Todd, the Demon Barber of Fleet Street Edgar Allan Poe: The Fall of the House of Usher The Cask of Amontillado The Pit and the Pendulum... Algernon Blackwood: The Willows The Wendigo Ancient Sorceries... Mary Shelley: Frankenstein The Heir of Mondolfo The Invisible Girl... Henry James: The Turn of the Screw The Ghostly Rental... John William Polidori: The Vampyre Bram Stoker: Dracula The Lair of the White Worm... Robert Louis Stevenson: Strange Case of Dr Jekyll and Mr Hyde Gaston Leroux: The Phantom of the Opera Marjorie Bowen: Black Magic Charles Dickens: The Mystery of Edwin Drood The Haunted House To Be Read At Dusk... Oscar Wilde: The Picture of Dorian Gray Théophile Gautier: Clarimonde The Mummy's Foot Richard Marsh: The Beetle Arthur Conan Doyle: The Hound of the Baskervilles The Silver Hatchet... Joseph Sheridan Le Fanu: Carmilla Uncle Silas... Matthew Gregory Lewis: The Monk Ann Radcliffe: The Mysteries of Udolpho Jane Austen: Northanger Abbey Charlotte Brontë: Jane Eyre Emily Brontë: Wuthering Heights Wilkie Collins: The Woman in White The Devil's Spectacles Rudyard Kipling: The Phantom Rickshaw Guy de Maupassant: The Horla M. R. James: Ghost Stories of an Antiquary A Thin Ghost and Others Nathaniel Hawthorne: The Birth Mark The House of the Seven Gables... Ambrose Bierce: Can Such Things Be? William Hope Hodgson: The House on the Borderland The Night Land Horace Walpole: The Castle of Otranto William Thomas Beckford: Vathek George W. M. Reynolds: Wagner, the Wehr-Wolf Catherine Crowe: Ghosts and Family Legends Thomas Hardy: What the Shepherd Saw The Grave by the Handpost Elizabeth Gaskell: The Old Nurse's Story The Poor Clare... Fitz-James O'Brien: The Lost Room The Diamond Lens Marie Belloc Lowndes: From Out the Vast Deep...

From the grindhouse oddities to major studio releases, this work details 46 horror films released during the genre's golden era. Each entry includes cast and credits, a plot synopsis, in-depth critical analysis, contemporary reviews, time of release, brief biographies of the principal cast and crew, and a production history. Apart from the 46 main entries, 71 additional "borderline horrors" are examined and critiqued in an appendix.

Sadly, western civilization has seemingly lost its sense of Christian identity and heritage. In recent decades, humanity has become so indoctrinated by the atheistic paradigm that our matrix is controlled by corporate greed and competition rather than cooperation and compassion. While reflecting on a world that is ever changing, Patrick Mooney shares essays that explore the effect of atheism on a variety of topics that include sexuality, the most binary aspect of humanity that is love, the courage of conviction, endowments and the elite as it relates to education, the reality of death, an inner-city Dublin schoolmistress, and much more. Throughout his writings, Mooney reminds us that although the modern world has brought us to a moral impasse, it is possible to adopt the spirituality that Christ preached, embrace our destiny to be spiritual, and refine our higher selves to search for and find meaning and divine purpose in our lives. The Actualization of Self-Transcendence is a collection of personal essays that shares a priest’s candid reflections on the effects of the atheistic paradigm on the modern world.

Secret, strange, dark, impure and dissonant...Enter the haunted landscapes of folk horror, a world of ­pagan ­village conspiracies, witch finders, and teenagers awakening to evil; of dark fairy tales, backwoods cults and obsolete technologies. Beginning with the classics Night of the Demon, Witchfinder General, The Wicker Man and Blood on Satan's Claw, We Don't Go Back surveys the genre of screen folk horror from across the world. Travelling from Watership Down to The Texas Chain Saw Massacre, with every stop inbetween, We Don't Go Back is a thoughtful, funny and essential overview of folk horror in TV and cinema."A beautiful rumination on the dark films and television that shaped me and a generation of odd children, for good or ill, worth a year of your time, because you won't just read the book, you'll feel a burning desire to watch everything mentioned within." - Robin Ince"A comprehensive, accessible and often riotously funny tome weaving together folk horror in all its forms, from British television to the American backwoods, from Eastern European fairytales to the vengeful ghosts of East Asia. Ingham explores uncanny landscapes haunted by things buried, old cultures converging with the reluctance of contemporary reason, that very tension that gives his book its name. He attempts to both define folk horror and free it from definition, creating the ultimate guide to the genre's manifestations on film and offering a convincing argument as to why the genre resonates so compellingly with people today." - Kier-La Janisse, author of House of Psychotic Women

"David Castillo takes us on a tour of some horrific materials that have rarely been considered together. He sheds a fantastical new light on the baroque." ---Anthony J. Cascardi, University of California Berkeley "Baroque Horrors is a textual archeologist's dream, scavenged from obscure chronicles, manuals, minor histories, and lesser-known works of major artists. Castillo finds tales of mutilation, mutation, monstrosity, murder, and mayhem, and delivers them to us with an inimitable flair for the sensational that nonetheless rejects sensationalism because it remains so grounded in historical fact." ---William Egginton, Johns Hopkins University "Baroque Horrors is a major contribution to baroque ideology, as well as an exploration of the grotesque, the horrible, the fantastic. Castillo organizes his monograph around the motif of curiosity, refuting the belief that Spain is a country incapable of organized scientific inquiry." ---David Foster, Arizona State University Baroque Horrors turns the current cultural and political conversation from the familiar narrative patterns and self-justifying allegories of abjection to a dialogue on the history of our modern fears and their monstrous offspring. When life and death are severed from nature and history, "reality" and "authenticity" may be experienced as spectator sports and staged attractions, as in the "real lives" captured by reality TV and the "authentic cadavers" displayed around the world in the Body Worlds exhibitions. Rather than thinking of virtual reality and staged authenticity as recent developments of the postmodern age, Castillo looks back to the Spanish baroque period in search for the roots of the commodification of nature and the horror vacui that accompanies it. Aimed at specialists, students, and readers of early modern literature and culture in the Spanish and Anglophone traditions as well as anyone interested in horror fantasy, Baroque Horrors offers new ways to rethink broad questions of intellectual and political history and relate them to the modern age. David Castillo is Associate Professor and Director of Graduate Studies in the Department of Romance Languages and Literatures at the University at Buffalo, SUNY. Jacket art: Frederick Ruysch's anatomical diorama. Engraving reproduction "drawn from life" by Cornelius Huyberts. Image from the Zymoglyphic Museum.

This volume explores the multifaceted depiction and staging of historical and social traumata as the result of extreme violence within national contexts. It focuses on Israeli-Palestinian, German and (US) American film, and reaches out to cinematic traditions from other countries like France, Great Britain and the former USSR. International and interdisciplinary scholars analyze both mainstream and avant-garde movies and documentaries premiering from the 1960s to the present. From transnational and cross-genre perspectives, they query the modes of representation – regarding narration, dramaturgy, aesthetics, mise-en-scène, iconology, lighting, cinematography, editing and sound – held by film as a medium to visualize shattering experiences of violence and their traumatic encoding in individuals, collectives, bodies and psyches. This anthology uniquely traces horror aesthetics and trajectories as a way to reenact, echo and question the perpetual loops of trauma in film cultures. The contributors examine the discursive transfer between historical traumata necessarily transmitted in a medialized and conceptualized form, the changing landscape of (clinical) trauma theory, the filmic depiction and language of trauma, and the official memory politics and hegemonic national-identity constructions.