#christopher frayling

[unreesonable]

Promo for Hell-Tor Festival 2025 ‘Ghosts of My Life’

[asteria-of-the-stars]

“Painters can’t make a likeness of him - however hard the artist tries, the subject always ends up looking like someone else; equally it is impossible to photograph (or ‘Codak’) him - the resulting print always makes him appear ‘black or like a skeleton corpse’; and there are no looking glasses in the Count’s house - because he has no reflection and casts no shadow; the lights in his house must therefore be specially arranged to ‘give no shadow.’”

Bram Stoker’s original notes about the Count for Dracula (1897) written between 1891-1892 on note paper from the Lyceum Theatre, transcribed by Christopher Frayling for his book Vampyres (2016).

[celestialmazer]

Sad Hill Unearthed - dir. Guillermo de Oliveira (2017)

Just watched this documentary on Netflix. What a fascinating, wonderful and at times very moving story about the restoration of the climactic graveyard setpiece from The Good The Bad and The Ugly.

A beautiful job done by all involved in the process and a testament to the power of film in people's lives 💗

[thefugitivesaint]

Christopher Frayling’s 'Nightmare: The Birth of Horror' was both a book and a television series produced by the BBC in 1996. Frayling is a British academic with an enthusiasm for popular culture, and a talent for communicating that enthusiasm to a general audience. Other episodes: Jekyll and Hyde Hound of the Baskervilles Related: A History of Horror with Mark Gatiss (Part 1 of 3): Frankenstein Goes to Hollywood A History of Horror with Mark Gatiss (Part 2 of 3): Home Counties Horror A History of Horror with Mark Gatiss (Part 3 of 3): The American Scream

[vervedoff]

The Yellow Peril ~ Christopher Frayling

nf

[universitybookstore]

A visually stunning addition to the books of the Frankenstein Bicentennial, Frankenstein: The First Two Hundred Years by Christopher Frayling delves not only into the novel’s history but also it’s long pop cultural legacy from the first theatrical production, which hit the London stage in 1823, to Universal’s 1931 cinematic shocker to Frankenberry cereal and much, much more.

[asteria-of-the-stars]

“Somehow the inarticulate peasant vampires […] who attacked sheep and cows as often as their relatives, became the aristocratic hero-villains of the Romantics. In the eye-witness accounts, the chubby vampires tended to have florid complexions - as if they had been drinking too much- swollen bodies, skin slippage, wide-open mouths full of blood and a halitotic stench. In Romantic fiction, they tended to be fashionably pallid and clean shaven, with seductive voices and pouting lips, and they were always sexually attractive. In folklore, the vampire was likely to hurl himself or herself at the victim’s chest or arm - to smother, as well as to suck. In fiction, the preferred erogenous zone was invariably the neck. It was quite a transformation: a special effect that lasted for the best of a century.”

- Christopher Frayling, Vampyres: Genesis and Resurrection from Count Dracula to Vampirella, 2016.

[asteria-of-the-stars]

“The fascination of beautiful women already dead, especially if they had been great courtesans, wanton queens or famous sinners, suggested to the Romantics, probably under the influence of the vampire legend, the figure of the Fatal Woman who was successively incarnate in all ages and all lands, an archetype which united in itself all forms of seduction, all vices and all delights.”

- Mario Praz on the formulation of the femme fatale. Found in Christopher Frayling’s Vampyres: Genesis and Resurrection from Count Dracula to Vampirella.