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Taphophilia (dot) Com...
A repository of morbid curiosities:
Thanatology and Taphophile Issues, Cemetery,
Funeral Industry and Death Related News.
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We Are the Children of the Night |
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Written by DeadGirl
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Wednesday, 31 October 2007 |
By John W. Whitehead
Borderfire Report
“I am
Dracula.”—Bela Lugosi
Halloween is associated with strange creatures, but
none more so than the vampire. To most, the vampire is a myth, an image
popularized in movies, television and books. Yet the vampire is no mere
Hollywood creation. It is a universal legend.
Stories about this
blood-sucking fiend have been told throughout the world for centuries, perhaps
as long as tales have been told. The villagers of Uganda, Haiti, Indonesia and
the Upper Amazon all have their local variety of vampire. Native American
tribes, Arctic Eskimos and many Arabian tribes know the vampire well. Many of
the stories are obviously myth, but some no doubt have their roots in
reality.
Incidents involving “actual” vampires have been chronicled by monks, ministers
and virtually every form of writer. In fact, the highly respected 18th century
French philosopher Jean-Jacques Rousseau wrote: “If there ever was in the world
a warranted and proven history, it is that of vampires; nothing is lacking,
official reports, testimonials of persons of standing, of surgeons, of
clergymen, of judges; the judicial evidence is all-embracing.”
When we
begin to examine the elements of truth behind the vampire legend, we soon
discover that it disguises a morbid reality. “Today,” writes author Brad
Steiger, “medical science recognizes a vampire psychosis wherein troubled
individuals may become convinced that their life depends upon drawing fresh
blood from human victims. The persons suffering from such a psychosis may, in
extreme cases, actually believe themselves to be dead.”
Whether the
vampire is a product of fact or fiction, its legend has been trumpeted both in
literature and film. However, it is the movies that have by way of folklore,
religion, sex and gore woven an irresistible symbol of the underdog vampire who
fights and fights again but can never win against the forces of God and men. And
now the vampire is so tightly interwoven into our cultural matrix that it seems
at times as if the vampire’s torn and ripped spirit is one with modern culture.
Today he is both predator and victim in an atmosphere of New Ageism, recovery
programs and cloudy morality.
The following are some of my favorite
vampire flicks.
Nosferatu (1922). F. W. Murnau’s film adaptation of Bram
Stoker’s “Dracula” remains one of the creepiest and most atmospheric versions.
Remade by Werner Herzog in 1979.
Dracula (1931). The mother of all
American vampire films, this classic starring Bela Lugosi, despite its vintage,
is still fine viewing. What would Halloween be without this movie?
The
Last Man on Earth (1964). The always watchable Vincent Price is the sole
survivor of a plague that has turned the rest of the world into vampires who
constantly seek to destroy him. This film is the precursor to Night of the
Living Dead (1968).
Rabid (1977). After undergoing plastic surgery, a
young girl develops a strange lesion in her armpit and finds that she now has a
craving for human blood. Very violent.
Fright Night (1985). A teen
discovers that his new next-door neighbor is really a vampire and, with help
from friends, seeks to destroy the bloodsucker. But the vampire learns of their
plans and fights back.
The Lost Boys (1987). A divorced mom and her two
boys move to a California town. But soon the boys are drawn into a group of
rebel-rousing teens who are really a gang of vampires. One of the more hip
vampire flicks that has the two Coreys (Haim and Feldman) working together for
the first time. Violent.
Near Dark (1987). Caleb is a farm boy who is a
vampire in transition. And in order to become a full-blooded bloodsucker, he has
to kill and feed. He hooks up with a small band of close-knit, vicious vampires
whose main interest is feeding on humans. But Caleb is a reluctant bloodsucker.
Violent.
Vampire’s Kiss (1988). A pretentious yuppie (Nicolas Cage)
becomes an ambivalent vampire. An adept psychological look at
vampirism.
Chronos (1994). The vampire is a small, egg-shaped device that
possesses an appetite for blood. Finding its way into an antiques store, it
sinks its hooks into the owner and passes on its passion for the red stuff.
Violent.
The Addiction (1995). A Ph.D. candidate, when bitten by a
vampire, develops a ferocious appetite for human blood. Vampirism here is
paralleled with drug addiction. Violent.
Blade (1998). Blade is a
half-human/half-vampire who seeks out and eliminates his vampire kindred. Soon
Blade is battling to prevent a vampire apocalypse. Very violent.
There
have been more vampire films made than any other genre. For whatever reason,
vampires are considered special. Maybe it’s because there is something in their
character that is reflective of us. After all, the image of the vampire is
forever shifting and changing, reflecting not itself but our own fears and
secret longings. The vampire casts no reflection in the mirror. He doesn’t have
to—after all, it’s our own faces we see when we gaze into the vampire’s
eyes.
http://www.borderfirereport.net/john-w.-whitehead/we-are-the-children-of-the-night.html
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Taphophilia?
taphophilia (taf′ō-fil′ē-ă)
ORIGIN:
From the Greek words taphos, meaning "tomb" or "sepulcher" and philia, meaning "attraction or affinity to something, in particular the love or obsession with something"
DEFINITION: 1. An excessive interest in graves and cemeteries. 2. A love or fondness for funerals, graves, and cemeteries. 3. In psychiatry, a morbid attraction to graves and cemeteries
Quote Repository
“Death is more universal than life; everyone dies but not everyone lives.” A Sachs
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