Halloween

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha. 

About Halloween 

Halloween or Hallowe’en (less commonly known as Allhalloween, All Hallows’ Eve, or All Saints’ Eve) is a celebration observed in many countries on the 31st of October, the eve of the Western Christian feast of All Saints’ Day.  It begins the observance of Allhallowtide, the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.

One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which is believed to have pagan roots.  Some go further and suggest that Samhain may have been Christianised as All Hallow’s Day, along with its eve, by the early Church.  Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow’s Day.  Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century, and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.

Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o’-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.  Some people practice the Christian religious observances of All Hallows’ Eve, including attending church services and lighting candles on the graves of the dead, although it is a secular celebration for others.  Some Christians historically abstained from meat on All Hallows’ Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.  

Image ©Toby Ord via Wikipedia

A Jack o’ Lantern made for the Holywell Manor Halloween celebrations in 2003. 

Etymology  

The word Halloween or Hallowe’en (Saints’ evening) is of Christian origin.  It is a term equivalent to All Hallows Eve and is attested in Old English. It comes from the Scottish form of All Hallows’ Eve (the evening before All Hallows’ Day).  Even is the Scots term for eve or evening, and is contracted to e’en or een so (All) Hallow(s) E(v)en became Hallowe’en.   

The History Of Halloween   

Christian Origins And Historic Customs 

Halloween is thought to have influences from Christian beliefs and practices.  The English word Halloween comes from All Hallows’ Eve, being the evening before the Christian holy days of All Hallows’ Day (All Saints’ Day) on the 1st of November and All Souls’ Day on the 2nd of November.  Since the time of the early Church, major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows’.  These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven.  Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.  In 4th-century Roman Edessa it was held on the 13th of May, and on this date in 609, Pope Boniface IV re-dedicated the Pantheon in Rome to St Mary and all martyrs.  This was the date of Lemuria, an ancient Roman festival of the dead.

In the 8th century, Pope Gregory III (731 – 741) founded an oratory in St. Peter’s for the relics of the holy apostles and of all saints, martyrs and confessors.  Some sources say it was dedicated on the 1st of November, while others say it was on Palm Sunday in April 732.  By 800, there was evidence that churches in Ireland and Northumbria were holding a feast commemorating all saints on November 1st.  Alcuin of Northumbria, a member of Charlemagne’s court, may then have introduced this 1st of November date in the Frankish Empire.  In 835, it became the official date in the Frankish Empire.  Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea, although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.  They may have seen it as the most fitting time to do so, as it is a time of dying in nature.  It is also suggested the change was made on the practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it, and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome’s sultry summers.

By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory.  It was also customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls.  The Allhallowtide custom of baking and sharing soul cakes for all christened souls has been suggested as the origin of trick-or-treating.  The custom dates back at least as far as the 15th century and was found in parts of England, Wales, Flanders, Bavaria and Austria.  Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers’ friends and relatives.  This was called souling.  Soul cakes were also offered for the souls themselves to eat,  or the soulers would act as their representatives.  As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.  Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).  While souling, Christians would carry lanterns made of hollowed-out turnips, which could have originally represented souls of the dead.  These jack-o’-lanterns were used to ward off evil spirits.  On All Saints’ and All Souls’ Day during the 19th century, candles were lit in homes in Ireland, Flanders, Bavaria, and Tyrol, where they were called soul lights, which served to guide the souls back to visit their earthly homes.  In many of these places, candles were also lit at graves on All Souls’ Day.  In Brittany, libations of milk were poured on the graves of kinfolk, or food would be left overnight on the dinner table for the returning souls.  This custom was also found in Tyrol and parts of Italy.

Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts.  It was traditionally believed that the souls of the departed wandered the earth until All Saints’ Day, and All Hallows’ Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world.  In order to avoid being recognised by any soul that might be seeking such vengeance, people would don masks or costumes.  In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.  Some Christians observe this custom at Halloween today.   American historian Lesley Bannatyne believes this could have been a Christianisation of an earlier pagan custom.   Many Christians in mainland Europe, especially in France, believed that once a year, on Hallowe’en, the dead of the churchyards rose for one wild, hideous carnival known as the danse macabre, which was often depicted in church decoration. Historians Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians not to forget the end of all earthly things.  The danse macabre was sometimes enacted in European village pageants and court masques, with people dressing up as corpses from various strata of society, and this may be the origin of Halloween costume parties.

In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a popish doctrine incompatible with the Calvinist doctrine of predestination.  State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow’s Day remained in the English liturgical calendar to commemorate saints as godly human beings.  For some Nonconformist Protestants, the theology of All Hallows’ Eve was redefined and said that souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert.  Instead, the so-called ghosts are thought to be in actuality evil spirits.  Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).  In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead.  The Anglican church eventually suppressed this bell-ringing.  Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl both wrote that barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they travelled the earth.  After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night ( November 5th), which appropriated some of its customs.  In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th – 19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows’ Eve.  One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out.  This was known as teen’lay.  There was a similar custom in Hertfordshire and the lighting of tindle fires in Derbyshire.  Some suggested these tindles were originally lit to guide the poor souls back to earth.  In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they were important to the life cycle and rites of passage of local communities and curbing them would have been difficult.

In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.  In 19th-century Italy, churches staged theatrical re-enactments of scenes from the lives of the saints on All Hallow’s Day, with participants represented by realistic wax figures.  In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.  In the same country, parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night.  In Spain, they continue to bake special pastries called bones of the holy (Spanish: Huesos de Santo) and set them on graves.  At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all-night vigil.  In 19th-century San Sebastian, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who appealed to the tender recollections of one’s deceased relations and friends for sympathy. 

Image via Wikipedia by John Masey Wright is in the public domain

Halloween (1785) by Scottish poet Robert Burns, recounts various legends of the holiday.   

Image © unknown via Wikipedia is in the public domain

A Bangladeshi girl lighting grave candles on the headstone of a deceased relative in the city of Chittagong for the observance of Allhallowtide.

While she is doing this, her mother is praying for their passed relative. In the background, there are other Bangladeshi Christians hanging garlands on cross-shaped grave stones. 

Image © unknown via Wikipedia is in the public domain

Four young adult Lutheran Christians praying on the night of All Hallows’ Eve (Halloween) for Christian martyrs, saints, and all the faithful departed, especially their loved ones, in preparation for All Hallows’ Day (All Saints’ Day), the following day of Hallowtide.

These Swedes, as well as other believers, have also lit votive candles and hung wreaths near the crucifix by which they are solemnly praying.  This photograph was taken in the Solna Municipality of Stockholm, Sweden. 

The Geography Of Halloween  

You can read more Geography of Halloween here.  

Image © 663highland via Wikipedia

A Halloween display in Harborland, Kobe, Hyogo, Japan. 

Gaelic Folk Influence 

Today’s Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.  Jack Santino, a folklorist, writes that “there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived”.  The origins of Halloween customs are typically linked to the Gaelic festival Samhain.

Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated from October 31st to November 1st in Ireland, Scotland and the Isle of Man.  A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany. this is a name meaning the first day of winter.  For the Celts, the day ended and began at sunset, thus the festival begins the evening before the 1st of November by modern reckoning.  Samhain is mentioned in some of the earliest Irish literature.  The names have been used by historians to refer to Celtic Halloween customs up until the 19th century, and are still the Gaelic and Welsh names for Halloween.

Samhain marked the end of the harvest season and the beginning of winter or the darker half of the year.  It was seen as a liminal time when the boundary between this world and the Otherworld thinned.  This meant the Aos Sí, the spirits or fairies, could more easily come into this world and were particularly active.  Most scholars see them as degraded versions of ancient gods whose power remained active in the people’s minds even after they had been officially replaced by later religious beliefs.  They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings. At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter.  Offerings of food and drink, or portions of the crops, were left outside for them.  The souls of the dead were also said to revisit their homes seeking hospitality.  Places were set at the dinner table and by the fire to welcome them.  The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.  In 19th century Ireland, candles would be lit and prayers formally offered for the souls of the dead.  After this, the eating, drinking, and games would begin.

Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one’s future, especially regarding death and marriage.  Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.  Special bonfires were lit and there were rituals involving them.  Their flames, smoke, and ashes were deemed to have protective and cleansing powers.  In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them  It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.  They were also used for divination and to ward off evil spirits.  In Scotland, these bonfires and divination games were banned by the church elders in some parishes.  In Wales, bonfires were also lit to prevent the souls of the dead from falling to earth. Later, these bonfires kept away the devil.

From at least the 16th century, the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.  This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food.  It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to souling.  Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.  In parts of southern Ireland, the guisers included a hobby horse.  A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses (some of which had pagan overtones) in exchange for food.  If the household donated food it could expect good fortune from the Muck Olla and not doing so would bring misfortune.  In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.   F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.  In parts of Wales, men went about dressed as fearsome beings called gwrachod.  In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.

Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers.  From at least the 18th century, imitating malignant spirits led to playing pranks in Ireland and the Scottish Highlands.  Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.  Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.  By those who made them, the lanterns were variously said to represent the spirits, or used to ward off evil spirits.  They were common in parts of Ireland and the Scottish Highlands in the 19th century, as well as in Somerset, known as Punkie Night.  In the 20th century, they spread to other parts of Britain and became generally known as jack-o’-lanterns.  

Image © Rannpháirtí anaithnid via Wikipedia

A traditional Irish Halloween mask.

This early 20th-century mask is displayed at the Museum of Country Life in Ireland.  

Image by Daniel Maclise via Wikipedia is in the public domain

Snap-Apple Night, painted by Irish artist Daniel Maclise in 1833.

It shows people feasting and playing divination games on Halloween in Ireland.   It was inspired by a Halloween party he attended in Blarney, in 1832.   

Image © Rannphairti anaithnid via Wikipedia

A traditional Irish Jack-o’-lantern.

This plaster cast of a Halloween turnip (rutabaga) lantern is on display in the Museum of Country Life in Ireland.

Spread To North America 

Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland recognised All Hallow’s Eve in their church calendars, although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.  Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.

It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.  Most American Halloween traditions were inherited from the Irish and Scots, though in Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night.  Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside.  Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.   Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East. 

Image © InSapphoWeTrust via Wikipedia

The Greenwich Village Halloween Parade.

This annual Halloween Parade takes place in New York, U.S.A. and it heads up Sixth Avenue.  It’s hard to top this when it comes to Halloween, whether in New York City or anywhere else.  This group is doing the mass zombie dance as seen in Michael Jackson’s Thriller music video.    

Symbols  

Development of artefacts and symbols associated with Halloween formed over time.  Jack-o’-lanterns are traditionally carried by guisers on All Hallows’ Eve in order to frighten evil spirits.  There is a popular Irish Christian folktale associated with the jack-o’-lantern, which in folklore is said to represent a soul who has been denied entry into both heaven and hell. 

The folktale says that on route home after a night’s drinking, Jack encounters the Devil and tricks him into climbing a tree.  A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil.   Jack strikes a bargain that Satan can never claim his soul.  After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies.  Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him.  It was a cold night, so Jack placed the coal in a hollowed-out turnip to stop it from going out, since which time Jack and his lantern had been roaming looking for a place to rest.

In Ireland and Scotland, the turnip has traditionally been carved during Halloween, but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip. The American tradition of carving pumpkins was recorded in 1837 and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.  

Image © Anthony22 via Wikipedia

Outdoor Halloween decorations.  

Image © Smallbones via Wikipedia and is in the public domain

A decorated house in Weatherly, Carbon County, Pennsylvania. 

Trick-Or-Treating And Guising 

You can read more about trick-or-treating here.

Trick-or-treating is a customary celebration for children on Halloween.  Children go in costume from house to house usually getting sweet treats or sometimes money, asking the question, “Trick or treat?” The word trick implies a they will perform mischief on the homeowners or their property if no treat is given.  The practice is said to have roots in the medieval practice of mumming, which is closely related to soulingJohn Pymm wrote that “many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church.” These feast days included All Hallows’ Eve, Christmas, Twelfth Night and Shrove Tuesday.  Mumming practised in Germany, Scandinavia and other parts of Europe, involved masked persons in fancy dress who paraded the streets and entered houses to dance or play dice in silence.

In England, from the medieval period, up until the 1930’s, people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic, going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.  In the Philippines, the practice of souling is called Pangangaluluwa and is practised on All Hallow’s Eve among children in rural areas.  People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.

In Scotland and Ireland, guising is a traditional Halloween custom.  This is where children disguised in costume go from door to door for food or coins.  It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped-out turnips, visit homes to be rewarded with cakes, fruit, and money.  In Ireland, the most popular phrase for kids to shout (until the 2000’s) was “Help the Halloween Party”.  The practice of guising at Halloween in North America was first recorded in 1911, when a newspaper in Kingston, Ontario, Canada, reported children going guising around the neighbourhood.

American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the U.S.A. titled The Book of Hallowe’en (1919), and references souling in the chapter Hallowe’en in America.  In her book, Kelley touches on customs that arrived from across the Atlantic, she said, “Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries”.

While the first reference to guising in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.  The earliest known use in print of the term trick or treat appears in 1927, in the Blackie Herald, of Alberta, Canada.

The thousands of Halloween postcards produced between the turn of the 20th century and the 1920’s commonly show children but not trick-or-treating.  Trick-or-treating did not seem to have become a widespread practice in North America until the 1930’s, with the first U.S.A. appearances of the term in 1934, and the first use in a national publication occurring in 1939.

A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when children are offered treats from the trunks (or boot as we say in the U.K.) of cars parked in a church parking lot, or sometimes, a school parking lot.  In a trunk-or-treat event, the boot of each car is decorated with a certain theme, such as those of children’s literature, movies, scripture, and job roles.  Trunk-or-treating has grown in popularity due to its perception as being safer than going door to door, a point that resonates well with parents, as well as the fact that it solves the rural conundrum in which homes are built a half-mile apart.  

Image © ToyahAnette B via Wikipedia and is in the public domain

Trick-or-treaters in Sweden. 

Image © unknown via Wikipedia and is in the public domain

A girl in a Halloween costume at Waterdown Public School, Waterdown, Ontario, Canada in 1928.

Waterdown is the same province where the Scottish Halloween custom of guising was first recorded in North America.  

Image © unknown via Wikipedia and is in the public domain

A Trunk-Or-Treat Event In Darien, Illinois, U.S.A.

This event is at the Lutheran Church and Early Learning Center in Darien.  This particular car has a jack-o’-lantern theme.   

Costumes  

Read more about Halloween costumes here.  You can see the Halloween costumes I have worn over the years here.

Halloween costumes were traditionally modelled after figures such as vampires, ghosts, skeletons, scary-looking witches, and devils.  Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses.

Dressing up in costumes and going guising was prevalent in Scotland and Ireland at Halloween by the late 19th century.  A Scottish term, the tradition is called guising because of the disguises or costumes worn by the children.  In Ireland and Scotland, the masks are known as false faces, a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers.  He said, “I had mind it was Halloween.  The wee callans (boys) were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)”.  Costuming became popular for Halloween parties in the U.S.A. in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the U.S.A. in the 1920’s and 1930’s.

Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows’ Eve, suggesting that by dressing up as creatures who at one time caused us to fear and tremble, people are able to poke fun at Satan whose kingdom has been plundered by Jesus.  Images of skeletons and the dead are traditional decorations used as memento more.

The yearly New York’s Village Halloween Parade was begun in 1974 and it is the world’s largest Halloween parade and America’s only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience. 

Image © Ardfern via Wikipedia

A Halloween shop in Waterloo Street, Derry, County Londonderry, Northern Ireland, selling masks in 2010.  

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This is a very cool Universal Classic Monsters mask I purchased for Halloween 2023.  It is officially licenced by Universal Studios and made for Trick Or Treat Studios.  It is, to date, the favourite mask I have in my mask collection and what I have worn for Halloween parties.  To see me in this and many more masks click here.

Pet Costumes  

According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018.  This is up from an estimated $200 million in 2010.  The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.   

Games And Other Activities 

There are several games traditionally associated with Halloween.  Some of these games originated as divination rituals or ways of foretelling one’s future, especially regarding death, marriage and children.  During the Middle Ages, these rituals were done by a rare few in rural communities as they were considered to be deadly serious practices.  In recent centuries, these divination games have been a common feature of the household festivities in Ireland and Britain.  They often involve apples and hazelnuts.  In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.  Some also suggest that they derive from Roman practices in celebration of Pomona.

The following activities were a common feature of Halloween in Ireland and Britain during the 17th – 20th centuries.  Some have become more widespread and continue to be popular today.  One common game is apple bobbing or dunking (which may be called dooking in Scotland) in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin.  A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple.  Another common game involves hanging up treacle or syrup-coated scones by strings.  These must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face.  Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other.  The rod is spun round and everyone takes turns to try to catch the apple with their teeth.

Several of the traditional activities from Ireland and Britain involve foretelling one’s future partner or spouse.  An apple would be peeled in one long strip, then the peel tossed over the shoulder.  The peel is believed to land in the shape of the first letter of the future spouse’s name.  Two hazelnuts would be roasted near a fire, one named for the person roasting them and the other for the person they desire.  If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.  A salty oatmeal bannock would be baked and the person would eat it in three bites and then go to bed in silence without anything to drink.  This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.  Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.  The custom was widespread enough to be commemorated on greeting cards from the late 19th century and early 20th century.

Another popular Irish game was known as púicíní (blindfolds).  This involves a person being blindfolded and then they would choose between several saucers.  The item in the saucer would provide a hint as to their future.  A ring would mean that they would marry soon, clay meant that they would die soon (perhaps within the year), water meant that they would emigrate, rosary beads meant that that they would take Holy Orders (become a nun, priest, monk, etc.), a coin meant that they would become rich and a bean meant that they would be poor.  The game features prominently in the James Joyce short story Clay (1914).

In Ireland and Scotland, items would be hidden in food (usually a cake, barmbrack, cranachan, champ or colcannon) and portions of it served out at random.  A person’s future would be foretold by the item they happened to find,  for example, a ring meant marriage and a coin meant wealth.

Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person.  In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.

Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties.  Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday.  

Image by unknown via Wikipedia and is in the public domain

A 1904 Halloween greeting card.

This early 20th-century card divination depicts a young woman looking into a mirror in a darkened room in hopes of catching a glimpse of her future husband.

Image by Charles F. Lester via Wikipedia and is in the public domain

Children bobbing for apples on Halloween.

The image above is from the book titled Hallowe’en at Merryvale, which was written by Alice Hale Burnett and illustrated by Charles F. Lester in 1916.  It comes from The Project Gutenberg and can be found by clicking here

Image by unknown via Wikipedia and is in the public domain

A Halloween gathering.

The image above is from the book titled The Book of Hallowe’en, which was written by Ruth Edna Kelley and illustrated by unknown in 1919.  It comes from The Project Gutenberg and can be found by clicking here

Haunted Attractions  

You can read more about haunted attractions here.

Haunted attractions are entertainment venues designed to thrill and scare their customers.  Most attractions are seasonal Halloween businesses that may include haunted houses etc. and the level of sophistication of the effects has risen as the industry has grown.

The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England.  This attraction actually most closely resembles a carnival fun house, powered by steam.  The House still exists, in the Hollycombe Steam Collection.

It was during the 1930’s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America.  It was in the late 1950’s that haunted houses as a major attraction began to appear, focusing first on California.  Sponsored by the Children’s Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957.  The San Bernardino Assistance League Haunted House opened in 1958.  Home haunts began appearing across the country during 1962 and 1963.  In 1964, the San Manteo Haunted House opened, as well as the Children’s Museum Haunted House in Indianapolis.

The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on the 12th of August 1969.  Knott’s Berry Farm began hosting its own Halloween night attraction, Knott’s Scary Farm, which opened in 1973.  Evangelical Christians adopted a form of these attractions by opening one of the first hell houses in 1972.

The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio.  It was co-sponsored by W.S.A.I. (an AM radio station broadcasting out of Cincinnati, Ohio).  It was last produced in 1982.  Other Jaycees followed suit with their own versions after the success of the Ohio house.  The March of Dimes copyrighted a Mini haunted house for the March of Dimes in 1976 and began fundraising through their local chapters by conducting haunted houses soon after.  Although they apparently quit supporting this type of event nationally sometime in the 1980’s, some March of Dimes haunted houses have persisted until today.

On the evening of May 11th, 1984, in Jackson Township, New Jersey, the Haunted Castle at Six Flags Great Adventure caught fire.  As a result of the fire, eight teenagers perished.  The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide.  The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better-funded commercial enterprises filled the vacuum.  Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.

In the late 1980’s and early 1990’s, theme parks entered the business seriously.  Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991.  Knott’s Scary Farm experienced a surge in attendance in the 1990’s as a result of America’s obsession with Halloween as a cultural event.  Theme parks have played a major role in globalizing the holiday.  Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey’s Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.  The theme park haunts are by far the largest, both in scale and attendance. 

Image © AgadaUrbanit via Wikipedia and is in the public domain

Humorous tombstones for Halloween.

These were in front of a house with a haunted house theme in Northern California, U.S.A. 

A humorous Halloween window display window in Historic 25th Street, Ogden, Utah, U.S.A.  

Food 

On All Hallows’ Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.

Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, toffee apples (known as candy apples or taffy apples in the U.S.A.) and caramel apples are Halloween treats made by rolling whole apples in a sticky sugar syrup, or caramel, sometimes followed by rolling them in nuts or other small savouries or confections and allowing them to cool.

One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.  It is considered fortunate to be the lucky one who finds it.  It has also been said that those who get a ring will find their true love in the ensuing year.  This is similar to the tradition of king cake at the festival of Epiphany.

Halloween-themed foods are also produced by companies in the lead-up to the night, for example, when Cadbury releases Goo Heads (similar to Creme Eggs) in spooky wrapping.

Here are some foods associated with Halloween around the world:

Barmbrack.

Bonfire toffee.

Candy apples.

Candy corn.

Candy pumpkins.

Caramel apples.

Caramel corn.

Chocolate.

Colcannon.

Halloween cake.

Monkey nuts (peanuts in their shells).

Novelty sweets/candy shaped like skulls, pumpkins, bats, worms, etc.

Pumpkin Pie.

Roasted pumpkin seeds.

Roasted sweet corn.

Soul cakes.

Sweets/candy.

Toffee apples. 

Image © Raysonho via Wikipedia and is in the public domain

Pumpkins for sale during Halloween. 

Image © Evan-Amos via Wikipedia

A toffee apple with peanuts. 

Image © Joseolgon via Wikipedia

A jack-o’-lantern Halloween cake with a witches hat.

This cake was made in Braga, Portugal. 

See Also 

Campfire story.

Devil’s Night.

Dziady.

Ghost Festival.

Naraka Chaturdashi.

Kekri.

List of fiction works about Halloween.

List of films set around Halloween.

List of Halloween television specials.

Martinisingen.

Neewollah.

St. John’s Eve.

Walpurgis Night.

Will-o’-the-wisp.

English festivals.

The above articles and the rest of the images on this page were sourced from Wikipedia and are subject to change.

Read more about Halloween and notes etc. regarding the above post here

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Notes And Links

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5).  

The image above by  John Masey Wright is via Wikipedia and is in the public domain.

The image above of a Bangladeshi girl lighting grave candles on the headstone of a deceased relative in the city of Chittagong for the observance of Allhallowtide via Wikipedia is copyright unknown and is in the public domain.

The image above of four young adult Lutheran Christians praying on the night of All Hallows’ Eve via Wikipedia is copyright unknown and is in the public domain.

The image shown above of a traditional Irish Halloween mask is the copyright of Wikipedia user Rannpháirtí anaithnid.  It comes with a Creative Commons licence (CC BY-SA 3.0)  

The image above of Snap-Apple Night, painted by Irish artist Daniel Maclise in 1833 is via Wikipedia and is in the public domain.

The image shown above of a traditional Irish Jack-o’-lantern is the copyright of Wikipedia user Rannpháirtí anaithnid.  It comes with a Creative Commons licence (CC BY-SA 3.0)  

The image shown above of the Greenwich Village Halloween parade is the copyright of Wikipedia user InSapphoWeTrust (Scarlet Sappho).   It comes with a Creative Commons licence (CC BY-SA 3.0) You can find more great work from her by clicking here.

The image shown above of outdoor Halloween decorations is the copyright of Wikipedia user Anthony22.  It comes with a Creative Commons licence (CC BY-SA 3.0)

The image above of a decorated house in Weatherly, Carbon County, Pennsylvania, U.S.A. is the copyright of Wikipedia user Smallbones and is in the public domain. You can find more of the user’s great work by clicking here.

The image above of trick-or-treaters in Sweden is the copyright of Wikipedia user ToyahAnetteB and is in the public domain.

The image above of a girl in a Halloween costume at Waterdown Public School, Waterdown, Ontario, Canada in 1928 via Wikipedia is copyright unknown and is in the public domain.

The image above of a Trunk-Or-Treat Event In Darien, Illinois, U.S.A. via Wikipedia is copyright unknown and is in the public domain.

The image shown above of a Halloween shop in Derry, Northern Ireland, selling masks is the copyright of Wikipedia user Ardfern.  It comes with a Creative Commons licence (CC BY-SA 3.0)  

The image above of a 1904 Halloween greeting card is by unknown via Wikipedia and is in the public domain.

The image above of a Halloween gathering is by unknown via Wikipedia and is in the public domain.

The image shown above of Humorous tombstones for Halloween is the copyright of Wikipedia user AgadaUrbanit and is in the public domain.

The image shown above of Pumpkins for sale during Halloween is the copyright of Wikipedia user Raysonho and is in the public domain.

The image shown above of a toffee apple with peanuts is the copyright of Wikipedia user Evan-Amos.  It comes with a Creative Commons licence (CC BY-SA 3.0)You can find more of the user’s great work by clicking here.

The image shown above of a jack-o’-lantern Halloween cake with a witches hat is the copyright of Wikipedia user Joseolgon.  It comes with a Creative Commons licence (CC BY-SA 4.0).  

The image shown above of a Halloween display in Harborland, Kobe, Hyogo, Japan is the copyright of Wikipedia user 663highland.  It comes with a Creative Commons licence (CC BY-SA 2.5)You can find more of the user’s great work by clicking here.

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.   

Holidays

Image © Pexels via Pexels

The main holidays I celebrated growing up through the decades, and still do, were New Year, Easter, Bonfire Night and Christmas.  Celebrating Halloween came much later in my adult years.  All these contain happy memories with my family, kids and grandkids.

These holidays carry their traditions and traditions meant a lot to my Mom and they mean a lot to me because as long as I carry on doing the things she did, and my own, they will never die out in a world where such things don’t seem to matter anymore to a lot of people.  The traditions that Mom loved, and the ones we did together, forever bring a smile to my face and happy memories and as long as I can do them I will and keep them alive, not just for me but for my grandkids and Mom too because I know she is here in spirit to enjoy them too.    

About Holidays

A holiday is a day or other period set aside for festivals or recreation.  They appear at various times during the four seasons.  Public holidays are set by public authorities and vary by state or region.  Religious holidays are set by religious organisations for their members and are often also observed as public holidays in religious-majority countries.  Some religious holidays, such as Christmas, have become secularised by part or all of those who observe them.  In addition to secularisation, many holidays have become commercialised due to the growth of industry.

Holidays can be thematic, celebrating or commemorating particular groups, events, or ideas, or non-thematic, days of rest that do not have any particular meaning.  In Commonwealth English, the term can refer to any period of rest from work, (a.k.a. vacations) or school holidays. Holidays typically refer to the period from Thanksgiving (in the United States, Canada, Grenada, Saint Lucia, Liberia, and unofficially in countries like Brazil, Germany and the Philippines.  It is also observed in the Dutch town of Leiden and the Australian territory of Norfolk Island) to New Year’s. 

If there is a celebration of some sort you will usually see lots of colourful fireworks.  

Image © Pexels via Pexels

A great display of blue fireworks.

New Year

You can read about New Year here.

Easter

You can read about Easter here.

Halloween

You can read about Halloween here.

Bonfire Night

You can read about Bonfire Night here.

Christmas

You can read about Christmas here.

Terminology

The word holiday comes from the Old English word hāligdæg (hālig “holy” + dæg “day”).  The word originally referred only to special religious days.

The word holiday has differing connotations in different regions.  In the United Kingdom and other Commonwealth nations, the word may refer to the period where leave from one’s duties has been agreed upon.  This time is usually set aside for rest, travel, or participation in recreational activities, with entire industries targeted to coincide with or enhance these experiences. The days of leave may not coincide with any specific customs or laws. Employers and educational institutes may designate holidays themselves, which may or may not overlap nationally or culturally relevant dates, which again comes under this connotation, but it is the first implication detailed that this article is concerned with.  Modern use varies geographically.  In the United States, the word is used exclusively to refer to the nationally, religiously, or culturally observed day(s) of rest or celebration or the events themselves and is known as a vacation.  In North America, it means any dedicated day or period of celebration.   

Global Holidays 

The celebration of the New Year has been a common holiday across cultures for at least four millennia.  Such holidays normally celebrate the last day of the year and the arrival of the next year in a calendar system.  In modern cultures using the Gregorian calendar, the New Year’s celebration spans New Year’s Eve on the 31st of December and New Year’s Day on the 1st of January.  However, other calendar systems also have New Year’s celebrations, such as Chinese New Year and Vietnamese Tet.  New Year’s Day is the most common public holiday, observed by all countries using the Gregorian calendar except Israel.

Christmas is a popular holiday globally due to the spread of Christianity.  The holiday is recognised as a public holiday in many countries in Europe, the Americas, Africa and Australasia and is celebrated by over 2 billion people.  Although a holiday with religious origins, Christmas is often celebrated by non-Christians as a secular holiday.  For example, 61% of British people celebrate Christmas in an entirely secular way.  Christmas has also become a tradition in some non-Christian countries.  For example, for many Japanese people, it has become customary to buy and eat fried chicken on Christmas.  

Public Holidays 

Read more about Public Holidays here.  

Substitute Holidays 

If a holiday coincides with another holiday or a weekend day a substitute holiday may be recognised in lieu.  In the United Kingdom, the government website states that “If a bank holiday is on a weekend, a substitute weekday becomes a bank holiday, normally the following Monday.”  The process of moving a holiday from a weekend day to the following Monday is known as Mondayisation in New Zealand.  

Religious Holidays 

Many holidays are linked to faiths and religions (see etymology above).  Christian holidays are defined as part of the liturgical year, the chief ones being Easter and Christmas.  The Orthodox Christian and Western-Roman Catholic patronal feast day or name day is celebrated on each place’s patron saint’s day, according to the Calendar of Saints.  Jehovah’s Witnesses annually commemorate The Memorial of Jesus Christ’s Death but do not celebrate other holidays with any religious significance such as Easter, Christmas or New Year.  This holds especially true for those holidays that have combined and absorbed rituals, overtones or practices from non-Christian beliefs into the celebration, as well as those holidays that distract from or replace the worship of Jehovah.  In Islam, the largest holidays are Eid al-Fitr (immediately after Ramadan) and Eid al-Adha (at the end of the Hajj).  Ahmadi Muslims additionally celebrate Promised Messiah Day, Promised Reformer Day, and Khilafat Day, but contrary to popular belief, neither are regarded as holidays.  Hindus, Jains and Sikhs observe several holidays, one of the largest being Diwali (Festival of Light). Japanese holidays as well as a few Catholic holidays contain heavy references to several different faiths and beliefs.  Celtic, Norse, and Neopagan holidays follow the order of the Wheel of the Year.  For example, Christmas ideas like decorating trees and colours (green, red, and white) have very similar ideas to modern Wicca (a modern Pagan belief) Yule which is a lesser Sabbat of the wheel of the year.  Some are closely linked to Swedish festivities.  The Bahaʼí Faith observes 11 annual holidays on dates determined using the Bahaʼí calendar.  Jews have two holiday seasons, the Spring Feasts of Pesach (Passover) and Shavuot (Weeks, called Pentecost in Greek) and the Fall Feasts of Rosh Hashanah (Head of the Year), Yom Kippur (Day of Atonement), Sukkot (Tabernacles), and Shemini Atzeret (Eighth Day of Assembly). 

See Also

You can see references and sources to the above articles here.  The above was sourced from a page on Wikipedia and is subject to change.  

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Links

PexelsThe image shown at the top of this page is the copyright of Pexels  You can find more free stock photos on there.

Halloween Photos (Part 4)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors, in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest due to poor-quality camera equipment.  I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

2022  (Continued)  

Click here for 2022 details.

Image © Joanne Wheeler

A small Halloween holiday family get-together.

Me, my sister Julie and great nephews Archie, Harley, Kenny and Oscar.

Image © Frank Parker
Image © Frank Parker

My goody bag from the kid’s get-together.

I wasn’t expecting this treat from my niece Joanne so it was nice to be included as one of the kids, ha ha and I thank her for it.

2023

This was my sixth Halloween party and I wore a Frankenstein costume complete with my very cool mask.  This realistic full overhead, latex mask with added hair (designed in the U.S.A. and made in Mexico) is officially licenced by Universal Studios and made for Trick Or Treat Studios and, for a very pleasant change, the quality of it was exactly like in the photo from the place I ordered it from (but I knew it would be after reading very good reviews).   It has been my most expensive mask to date at £68 but that old saying you get what you pay for rings very true here.  It was worth every penny and I can’t wait to put it on display in my bungalow one day. Regardless of the price, I was very happy about it and I enjoyed wearing it (it’s just a shame one or both of the electrodes were hidden a lot in the photos of me wearing it.  This is because I pulled my t-shirt up too far without realising it).   It has now become my favourite Halloween costume since I started wearing Halloween costumes, more so the mask element of it, the rest was a disaster!

I wore a black suit, black T-shirt and big black boots to try and get the full Frankenstein look from the first film which starred Boris Karloff as Frankenstein’s monster.

It has a slit in the back to help get it on so I didn’t have to cut one in which was good.  The mask is hard to get on and off but it isn’t too tight when it is on.  However, there are two moulded bits by the eyes inside that are a bit uncomfortable as they dig into the bridge of my nose a bit but I’m sure these could be softened somehow.  The eye holes are not that big to see through and I had to tilt my head up a bit to see better which is hard anyway with no glasses on like most overhead masks I can’t.  I also couldn’t wear my hearing aids meaning I couldn’t hear that great either.  Both these things are always annoying but it is what it is. 

As I mentioned above this costume was a disaster for me.  I had purchased four army green make-up pots (the closest colour I could get to match the mask and there were two for each arm) as I wasn’t sure how well they would spread.  It turned out I only needed one and, despite using make-up primer, it smudged on my fingers and palms.  It didn’t help I left it too late to do and wasn’t fully dry.  On top of that, I got it on my T-shirt and suit which meant I had to use a wet cloth to get it off but all it did was smudge in my clothes.  Every time I tried to get it off my clothes because the cloth was wet, my hands would be partly washed which meant adding more paint! This did give it a muddy clothes look so I suppose it looked OK but I was very annoyed it happened. 

I also brought FX modelling wax pot, fake blood, spirit gum glue and black cotton to achieve a scarred, sewn-on look around the wrists.  There wouldn’t have been enough wax to use so I didn’t bother with it, therefore there was no point using the cotton.  Anyway, I tried to cut a load of little threads and it was too thin and fiddly so I wouldn’t have been able to do it even if I wanted to with time flying by until I had to go out.

My boots were the biggest failure of the whole costume.  They were disability boots my brother-in-law Ken gave me and one was lower than the other meaning that less than a week before the party I had to build the one up to make them even looking.  I used about 1-inch polystyrene sheets for that, on one boot (to give it a bit more height) and more on the other to build it up to the same as the other one.  I used normal glue which dissolved the polystyrene sheets so I used no nails glue hoping it would dry in time for the party, IT DID NOT.  I used cardboard on them and super-glued a bit cut from tarpaulin to make souls and stop the polystyrene wrecking.  That made no difference because all my weight just squashed everything down, glue and all and it went everywhere, eventually losing the soles altogether.  The boots looked so crap and because of this I have cropped them off in the photos but you may see the odd bit of white.  I am a perfectionist when it comes to a lot of things I do including ideas I have and when they don’t turn out like it was in my head (they rarely do) I do get disheartened when these things happen but I try not to let them bring me down too much and I get on with it, that is how my life is.

The photos below were taken at Ayelsford Hall in Shard End.  I got ready at home and got a lift there from my Brother-In-Law Ken which was good because there was no way I was going to walk!

My sister Julie had to lock the door for me when we left mine and help put my phone and keys in my jacket pocket as my hands were painted green and I didn’t want them to smudge, ha ha.

The photos were taken on the 28th of October, 2023.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This version of Frankenstein’s monster is the original one played by Boris Karloff and the likeness is spot on.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The Frankenstein mask tag that came with it.

Image © Julie Shingler

My very cool Frankenstein mask.

Image © Julie Shingler
Image © Julie Shingler
Image © Julie Shingler
Image © Faye Libby
Image © Julie Shingler

Frankenstein’s monster.

Various poses of me in my Frankenstein costume.

Image © Julie Shingler

Frankenstein’s monster dancing.

Julie took a photo of me dancing, ha ha.

Image © Julie Shingler

Frankenstein’s monster drinking.

It is thirsty work being chased by a flame-wielding mob, ha ha.

This is me attempting to have a drink with my Frankenstein mask on.  I had to lift it up a bit making it look like I was drinking out my neck!

The mask doesn’t have a mouthpiece and I could have cut a little slit in it for using a straw but I didn’t want to spoil and risk (and possibly ruin) an expensive mask like this so I left it as it was.

Image © Faye Libby

Me and my sister Julie. 

Image © Julie Shingler

Me and my brother-in-law Ken.

Image © Faye Libby

Me, my sister Julie and niece Faye.

Image © Frank Parker
Image © Frank Parker

My Frankenstein boots.

It was a messy process modifying these boots (hence the glue inside them from my hands).  Here you can see my final effort of changing their look slightly BEFORE I wore them and they became ruined.

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Notes And Links

This page contains links that send you to Wikipedia and other websites and are subject to change. 

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5) 

The images above are copyright of Frank Parker unless stated. 

The Frankenstein mask and tag photos at the top of the page are copyright of Universal via Universal Studios and Trick Or Treat Studios.

The photos above of me in my Frankenstein mask and costume, me with my sister Julie and brother-in-law Ken are copyright of Julie Shingler.

The photos above of me and my sister Julie, me, my sister Julie and niece Faye and one of me as Frankenstein’s monster are copyright of Faye Libby.

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration.

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Halloween Photos (Part 3)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors, in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest but I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

2021  (Continued) 

Click here for 2021 details.

Image © Frank Parker

Me and my sister Julie.  

Image © Julie Shingler

Me and my great nephew Billy.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

My cool Freddy Krueger Halloween costume.

I won the Best Costume award for this.  Thank you to my niece Faye for that and the bottle of Bucks Fizz and the cool cover it was in that she crocheted herself.

Image © Frank Parker

Hey You Guys!

The day after the Halloween party I tried on the mask my sister Yvonne gave me what she wore of Sloth from The Goonies.

It doesn’t exactly look like him and I can guarantee it did in the stock photo from where it was purchased from.

I happily had it to add to my mask collection as Yvonne was just going to throw it away!  It is another mask that is not full over the head so my glasses can be worn underneath it if I decide to wear it again which I doubt but I am always happy to receive anything free regarding horror, masks and Halloween costumes.  They are all appreciated.  

2022 

This was my fifth Halloween party and I wore my cool Werewolf costume.  Like the previous years, the quality of the mask was nothing like in the photo from the place I ordered it from but I wasn’t unhappy about it because it was very close and I enjoyed wearing it.  It was my fourth favourite Halloween costume since I started wearing Halloween costumes.

I ordered myself some slip-on werewolf feet, and werewolf gloves and, just like most masks in stock photos that you buy, these were not as good quality as them and I didn’t like how the feet slipped on over your shoes but it was the best I could find.  I wore a blooded shirt with it.  I got some fake fur to stick to my chest using titty tape, ha ha.  I made my own meaty blood and that was a laugh (see below) and I used a severed hand prop (which I rubbed in dirt and sprayed fake blood on it) to complete the scary look to it all.

This wasn’t the werewolf I wanted to go as originally.  I wanted to go as the Universal Classic Monsters The Wolf Man version from 1941, starring Lon Chaney Jnr.  However, there wasn’t a mask available for him so I thought I would try and get a look similar to my favourite werewolf film ever, An American Werewolf In London.  I saw a very cool mask that would have been cool but after reading a lot of reviews and seeing you really get a PATHETIC version of it, (no surprise there), I decided to go for a generic werewolf look.  It bothered me that everything I wore didn’t match the same shade of brown but regardless it was a costume I enjoyed wearing.  

Picture this scene.  I had recently been attacked and bitten by a werewolf but I managed to get away somehow.  The next night there was a full moon and I changed into a wolf man.  I run around outside to find someone to kill. A bloke sees me, panics and runs into some nearby muddy woods.  I attack him and he falls to the ground.  I grab his legs and drag him.  Screaming, he grabs any fallen trees and branches he can to stop himself from going any further.  Desperately clawing the ground, his dirty hands could not save him now).  I  pounce on him, bite his throat and chew on it, causing blood to soak my shirt.  I bite one of his dirty hands off before running off with it in my hand to find my next victim.  This was the inspiration for the look I wanted to achieve for this Halloween party. I have always had a great imagination since I was little! 

This was another tight mask meaning I couldn’t wear my glasses underneath making it hard to see (especially in the dark) but I could wear my hearing aids which is always good at noisy parties.  However, it was not as tight as three years ago and I didn’t have to cut a slit in the back of it like I did with that one but I still had trouble getting it on and off.  Out of all my masks, this was the one I sweated the most in.  I was very hot wearing this.  I did put baby talcum powder in it but it made no difference.

As mentioned above, the meaty blood I made (the night before) was a laugh because, oh boy, did it smell! 

I used fake blood in a jug and added ripped-up cotton balls, green and red food colouring and washing-up liquid to get the colour and constancy of blood-stained chewed-up meat.  I just couldn’t get it how I pictured it in my head. 

I added more cotton wool and put it in the microwave (not shown) thinking the heat would help thicken it but that was a disaster.  The whole lot overflowed and made my microwave look like a horror scene from a film!

I was either getting too light, or too dark by adding a bit of red and brown sauce to it, too watery or too thick, by adding shredded tissue to it.  I added sweet pickle so the chunks in it would make it look like chunks of flesh.  Eventually, I was sort of happy with what I had (and you can see in the photos of it in my mouth and hanging from it, it looked realistic) but as you can imagine it smelled very tangy indeed and it sure did make the car stink on the journey there and it was noticed by people at the party too.  Still, it made the whole experience very memorable, ha ha.

The photos below were taken at my sister Julie’s house where I got ready and at my nephew Wayne’s house on the 30th of October, 2022.

Image © Frank Parker

My cool werewolf Halloween costume.

Complete with meat in my mouth and hanging from my fur.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

My cool werewolf Halloween costume.

I had just got ready at Julie’s ready for the Halloween party.

Image © Julie Shingler
Image © Julie Shingler
Image © Julie Shingler
Image © Julie Shingler

My cool werewolf Halloween costume.

Image © Julie Shingler
Image © Julie Shingler

My cool werewolf Halloween costume.

It is thirsty work being a werewolf and killing people, ha ha.

Image © Julie Shingler

Me and my sister Julie. 

Image © Julie Shingler

Me and my great nephew Harley. 

Image © Frank Parker
Image © Frank Parker

Making fake bloodied meat. 

Image © Frank Parker

My cool werewolf Halloween mask.

The day after the Halloween party I washed my shirt and mask for keepsakes.  The wolf looks like he has had a stroke, ha ha.

Later that day I went to a kid’s get-together.  It wasn’t a Halloween party as such so I haven’t classed it as one. 

Anyway, I wasn’t sure what to wear so I cobbled an outfit together. I went as a devil.  I have had this mask for a long time.  my gloves were from my 2017 outfit and my cloak from the 2019 one. I already had the shrunken head (again from a long time ago as part of my horror collection).  This devil liked to shrink people’s heads, chop them off and keep them as souvenirs.

There’s that great imagination again!

The photos below were taken at my sister Julie’s house where I got ready on the 31st of October, 2022.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

My devil Halloween costume.

Blog Posts

Notes And Links

This page contains links that send you to Wikipedia and is subject to change.

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5)

The images above are copyright of Frank Parker unless stated.

The images above of me and my great nephew Billy, my cool werewolf Halloween costume and my sister Julie, and my great nephew Harley are copyright of Julie Shingler.

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Halloween Photos (Part 2)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors, in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest but I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

2019  

This was my third  Halloween party and I wore my cool Nosferatu Halloween costume. Like the previous years, the quality of the Count Orlok mask was nothing like in the photo from the place I ordered it from but I wasn’t unhappy about it because it was very close and I enjoyed wearing it.  It has been my second favourite Halloween costume since I started wearing them.

I ordered myself some false nails (slightly exaggerated to give my fingers a more bony, scary look), a cloak to wear with it and I wore a black shirt, black trousers and black shoes to try and get the old-fashioned look to it all.

The mask was bloody tight! I had to cut a slit in the back of it and I still had trouble getting it on and off.  I couldn’t wear my glasses underneath which annoys me as it means I can’t see much, especially when it gets dark.  It was tighter around my left eye and caused my eye to open more but this added to the scary look, ha ha.

The photos below was taken at my sister Julie’s house where I got ready and at my niece Faye’s house (where the party was) on the 26th of September, 2019.

You can watch the classic 1922 silent film classic Nosferatu below.

Image © Frank Parker

My very cool Nosferatu mask.

Image © Frank Parker

After I got ready for the Halloween party, and had this photo taken on my phone, I noticed (as you can see here) that the nail from my right-hand thumb was missing and I had white make up on my shirt.  That was annoying as it spoiled the photo a bit for me.

My great niece Lucy helped me look everywhere for it (bless her) and I eventually found it in the bathroom where I got ready.

Image © Frank Parker
Image © Frank Parker

Me (minus a nail on my thumb) and my sister Julie in our Halloween costumes.

Image © Frank Parker
Image © Frank Parker

My very cool Nosferatu Halloween costume.

Image © Frank Parker
Image © Frank Parker

Me and my sisters Cathy and Julie in our Halloween costumes.

Image © Frank Parker

Me, my sister Cathy and my niece Joanne in our Halloween costumes.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Me and my niece Joanne in our Halloween costumes.

Image © Frank Parker

My very cool Nosferatu Halloween costume.

Image © Frank Parker

Me and my sister Yvonne in our Halloween costumes.

Nosferatu 1922 Silent Film In Full

The 1922 silent film Nosferatu or to give its full title, Nosferatu: A Symphony Of Horror.  It starred Max Schreck as Count Orlok.

The scene where Nosferatu’s shadow goes up the stairway is a classic scene and it scared me when I was very young. I never watched all of the film until I was older.

2020

There was no Halloween party this year thanks to COVID (the less I say about a lot of bull shit regarding this the better.  That’s a topic for another day).  Me and my sisters, Julie, Cathy and Yvonne did a video call so I never bothered with a full Halloween costume, just this crap demon ripping through a face mask and a bloody t-shirt.  As ever quality of the mask was nothing like in the photo from the place I ordered it from and this was the most I had ever been unhappy I had ever been because it was nothing like what I thought I was going to get.  I wasn’t surprised though due to experience but I didnt think it was going to be this bad.  I added blood to it to try and make it look better but I never enjoyed wearing it one bit and was glad to take it off after the call.  It was my worst Halloween costume since I started wearing them.

The mask wasn’t too tight like my mask from the year before and I didn’t have to cut a slit in the back of it like that one. I could wear my glasses underneath this one which was pleasing.

The photo below was taken at my house on Halloween, 2019.

Image © Frank Parker

2021

This was my fourth  Halloween party and I wore my cool Freddy Krueger costume.  Like the previous years, the quality of the mask was nothing like in the photo from the place I ordered it from but I wasn’t unhappy about it because it was very close and I enjoyed wearing it.  It was my third favourite Halloween costume since I started wearing Halloween costumes.

I ordered myself a hat to wear with it and I wore Freddy’s famous stripey jumper and gloves, black trousers and black shoes to try and get the full A Nightmare On Elm Street look.  The film starred Robert Englund as Freddy Krueger.

The was another tight mask meaning I couldn’t wear my glasses underneath again or my hearing aids making it hard to see (especially in the dark) and hear.  However, it was not as tight as two years ago and I didn’t have to cut a slit in the back of it like I did with that one but I still had trouble getting it on and off. At least this one didn’t hurt my left eye, ha ha.

The photos below were taken at my sister Julie’s house where I also got ready on the 30th of September, 2019.

Image © Frank Parker

My cool Freddy Krueger mask. 

Image © Frank Parker
Image © Julie Shingler

My cool Freddy Krueger Halloween costume. 

Image © Frank Parker

My cool Freddy Krueger mask.  

Image © Julie Shingler
Image © Julie Shingler

Me, my niece Joanne, great nephew Archie and brother-in-law Ken. 

Image © Julie Shingler

My cool Freddy Krueger Halloween costume.

Even Freddy needs to check his phone now and then, ha ha.

Image © unknown
Image © unknown
Image © unknown

Me and my sister Julie. 

Whatever I said it made Julie laugh out load, ha ha.

Blog Posts

Notes And Links

This page contains links that send you to Wikipedia and is subject to change.

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5)

The images above are copyright of Frank Parker unless stated.

The images above of me in my cool Freddy Krueger Halloween costume and of me, my niece Joanne, great nephew Archie and brother-in-law Ken are copyright of Julie Shingler.

The images above of me and my sister Julie are unknown because I can’t remember who took them?!

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

The 1922 silent film Nosferatu is in the public domain.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Halloween Photos (Part 1)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest but I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

1990’s

Happy times from back in the day.

I don’t know the exact date unfortunately of the following photos but it was in the 90’s.

Image © Frank Parker

My lovely son Frank Jnr and lovely daughter Debbie bobbing for apples. 

Image © Frank Parker

Frank Jnr and Debbie wearing Halloween masks.  

2017

The costume I wore this year was meant to be a zombie in grey clothes but it looked nothing like the photo I ordered it from.  Needless to say, I was not happy with it but I wore it anyway.  It wasn’t a full over-the-head mask so the only good thing about it was it wasn’t tight and I could wear my glasses underneath it which is good because it helps me see better, especially when it gets dark.  

Sadly I don’t have any other photos of it but I took it all to show Mom what I was wearing for the Halloween party at my sister Julie’s house that was in early November.

This was the first Halloween party I had ever been invited to.

This photo was taken at my mom’s bungalow on the 17th of October, 2017.

Image © Frank Parker

My lovely mom wearing the mask from my Halloween costume.

 

This wonderful photo of Mom’s fantastic smile was taken on the 3rd of November, 2017.

Image © Frank Parker

Mom wearing her Halloween costume at a 2017 Halloween party. 

Fireworks taken on the 3rd of November, 2017.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Fireworks at a 2017 Halloween party.

Tyler loved watching the fireworks.

Image © Frank Parker
Image © Frank Parker

My lovely grandson Tyler enjoyed the fireworks with his auntie Julie, his daddy and auntie Cathy at a 2017 Halloween party.   

Image © Frank Parker
Image © Frank Parker

Tyler enjoyed the fireworks with his auntie Julie at a 2017 Halloween party. 

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Tyler enjoyed the fireworks with his auntie Cathy at a 2017 Halloween party.

Image © Frank Parker
Image © Frank Parker

Tyler enjoyed the fireworks at a 2017 Halloween party.

2018

This is my scary pumpkin man Halloween costume and, like the previous year, the quality of it was nothing like in the photo from the place I ordered it from.  Again I wasn’t happy about that but it was close so I felt OK wearing it and, due to it not being a full over-the-head mask again, it wasn’t tight and I could wear my glasses underneath it again which is as good as ever because it helps me see better, especially when it gets dark.  

I wore it with black trousers and used a severed hand prop (not shown) to complete the scary look to it all.

This was my second Halloween party but sadly I have no photos from it.

The photos below were taken at my house on the 27th of September, 2018 before we went to the Halloween party at my niece Joanne’s house.

Image © Frank Parker

My lovely granddaughter Kasey and me wearing our Halloween costumes before a 2018 Halloween party.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Kasey proudly showed off her Halloween costume and bag before a 2018 Halloween party. 

Image © Frank Parker

Kasey was very pleased with her Halloween nails before a 2018 Halloween party. 

Kasey loved stopping at mine over the Halloween holiday in 2018.

The photos below were taken on Halloween, 2018.

Image © Frank Parker
Image © Frank Parker

Kasey loved her Build-A-Bear wig and her visit to McDonald’s.

My lovely Dog Rosie looks like Donald Trump below, ha ha.

Image © Frank Parker
Image © Frank Parker

Rosie joined in with the Halloween holiday fun in 2018 wearing Kasey’s Build-A-Bear wig.

Blog Posts

Notes And Links

This page contains a link that sends you to Wikipedia and is subject to change.

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5).

The images above are copyright of Frank Parker. 

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Films

Image © of Bence Szemerey via Pixabay

Everyone loves watching a good film albeit at the cinema or at home on the television etc.  With a collection of over 1000 DVDs that includes a LOT of films, it is clear to see that this is another big passion of mine.

I can’t remember the very first film I went to see at the pictures but it was in the mid-1970’s and it possibly could have been the Disney animation adaptation of Robin Hood.  Visits to the cinema over the decades as a child and older, with family have always held special memories for me. 

Watching a film on the telly is always good but nothing beats the experience and sound quality of watching it on the big screen.  Having a home cinema has always been a dream of mine but that probably won’t ever happen but one day I would like to get a decent surround sound system and projector with a large screen or a large telly to watch films on.  I will say never say never on that one!

I like most film genres with my favourite being Horror and Science Fiction ones.  I have favourite actors and actresses the same as anyone else does and they will be shown on this page.  I am not going to list every film I have watched in my lifetime, that would be IMPOSSIBLE to remember but I will list films I have watched and enjoyed that I think are worth watching for someone else but of course, your opinions may differ from mine, that’s life.

About Film

A film, also called a movie, motion picture, moving picture, picture, photoplay, or flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. Flick is, in general, a slang term, first recorded in 1926.  It originates in the verb flicker, owing to the flickering appearance of early films.  These images are generally accompanied by sound and, more rarely, other sensory stimulations.   The word cinema, short for cinematography, is often used to refer to filmmaking and the film industry, and the art form that is the result of it. 

The History Of Film

Precursors

The art of film has drawn on several earlier traditions in fields such as oral storytelling, literature, theatre, and visual arts.  Forms of art and entertainment that have already featured moving or projected images include shadowgraphy (probably used since prehistoric times), camera obscura (a natural phenomenon that has possibly been used as an artistic aid since prehistoric times), shadow puppetry (possibly originated around 200 BCE in Central Asia, India, Indonesia or China) and the magic lantern (developed in the 1650’s,  this multi-media phantasmagoria shows that magic lanterns were popular from 1790 throughout the first half of the 19th century and could feature mechanical slides, rear projection, mobile projectors, superimposition, dissolving views, live actors, smoke that was sometimes used to project images upon, odours, sounds, and even electric shocks).

Before Celluloid

The stroboscopic animation principle was introduced in 1833 with the stroboscopic disc (better known as the phenakisticope) and later applied in the zoetrope (since 1866), the flip book (since 1868), and the praxinoscope (since 1877) before it became the basic principle for cinematography.

Image © of Simon Ritter von Stampfer via Wikipedia

Prof. Stampfer’s Stroboscopische Scheibe No. X., created on the 22nd of June, 1833.  This is side Nr. 10 of the reworked second series of Stampfer’s stroboscopic disc published by Trentsensky & Vieweg in the same year.

Experiments with early phenakisticope-based animation projectors were made at least as early as 1843 and publicly screened in 1847.  Jules Duboscq marketed phenakisticope projection systems in France from circa 1853 until the 1890’s.

Photography was introduced in 1839, but initially, photographic emulsions needed such long exposures that the recording of moving subjects seemed impossible.  At least as early as 1844, a photographic series of subjects posed in different positions was created to either suggest a motion sequence or document a range of different viewing angles.  The advent of stereoscopic photography, with early experiments in the 1840’s and commercial success since the early 1850’s, raised interest in completing the photographic medium with the addition of means to capture colour and motion.  In 1849, Joseph Plateau published the idea to combine his invention of the phenakisticope with the stereoscope, as suggested to him by stereoscope inventor Charles Wheatstone, and to use photographs of plaster sculptures in different positions to be animated in the combined device.  In 1852, Jules Duboscq patented such an instrument as the Stereoscope-fantascope, ou Bioscope, but he only marketed it very briefly, without success.  One Bioscope disc with stereoscopic photographs of a machine is in the Plateau collection of Ghent University, but no instruments or other discs have yet been found.

By the late 1850’s the first examples of instantaneous photography came about and provided hope that motion photography would soon be possible, but it took a few decades before it was successfully combined with a method to record a series of sequential images in real-time.  In 1878, Eadweard Muybridge eventually managed to take a series of photographs of a running horse with a battery of cameras in a line along the track and published the results as The Horse in Motion on cabinet cards.  Muybridge, as well as Etienne-Jules Marey, Ottomar Anschütz, and many others, would create many more chronophotography studies.  Muybridge had the contours of dozens of his chronophotographic series traced onto glass discs and projected them with his zoopraxiscope in his lectures from 1880 to 1895.

Image © of Eadweard Muybridge via Wikipedia

An animation of the retouched Sallie Garner card from The Horse in Motion series by Eadweard Muybridge.  The series was from 1878 – 1879. 

Anschutz made his first instantaneous photographs in 1881.  He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882.  The quality of his pictures was generally regarded to be much higher than that of the chronophotography works of Muybridge and Etienne-Jules Marey.  In 1886, Anschutz developed the Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5-meter-wide rotating wheel that was hand-cranked to the speed of circa 30 frames per second.  Different versions were shown at many international exhibitions, fairs, conventions, and arcades from 1887 until at least 1894.  Starting in 1891, some 152 examples of a coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally.  Nearly 34,000 people paid to see it at the Berlin Exhibition Park in the summer of 1892.  Others saw it in London or at the 1893 Chicago World’s Fair.  On the 25th of November 1894, Anschutz introduced an Electrotachyscope projector with a 6 x 8 meter screening in Berlin.  Between the 22nd of February and the 30th of March 1895, a total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin.

Image © unknown via Wikipedia

A picture of Ottomar’s Anschutz’s electrotachyscope, first published in Scientific American on the 16th of November, 1889.

Emile Reynaud already mentioned the possibility of projecting the images of the Praxinoscope in his 1877 patent application.  He presented a praxinoscope projection device at the Societe Francaise de Photographie on the 4th of June 1880 but did not market his praxinoscope before 1882.  He then further developed the device into the Theatre Optique which could project longer sequences with separate backgrounds, patented in 1888.  He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band.  From the 28th of October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Grevin Museu in Paris.

First Motion Pictures

By the end of the 1880’s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph a rapid sequence of images using only one lens, allowed the action to be captured and stored on a single compact reel of film.

Movies were initially shown publicly to one person at a time through peep show devices such as the Electrotachyscope, Kinetoscope, and the Mutoscope.  Not much later, exhibitors managed to project films on large screens for theatre audiences.

The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons, using films produced by their Eidoloscope company, by the Skladanowsky brothers, and by the arguably better known  French brothers Auguste and Louis Lumiere with ten of their own productions.  Private screenings had preceded these by several months, with Latham’s slightly predating the others.

Roundhay Garden Scene is a short silent motion picture filmed by French inventor Louis Le Prince at Oakwood Grange in Roundhay, Leeds, in northern England on the 14th of October 1888.

Pauvre Pierrot or Poor Pete as it is known in English is a French short animated film directed by Charles-Emile Reynaud in 1891 and was released in 1892. 

Georges Melies’ Le Voyage dans la Lune or A Trip to the Moon as it is known in English is an early narrative film and also an early science fiction film, released in 1902.

The Bond is a two-reel propaganda film created by Charlie Chaplin at his own expense for the Liberty Loan Committee to help sell U.S. Liberty Bonds during World War I, released in 1918. 

Early Evolution

The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques.  Typical films showed employees leaving a factory gate, people walking in the street, and the view from the front of a trolley as it traveled a city’s Main Street.  According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater.  Around the turn of the 20th century, films started stringing several scenes together to tell a story.  The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes a relationship between the content in the separate shots in the minds of the viewer.  It is this relationship that makes all film storytelling possible.  In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.  Each scene was a single stationary shot with the action occurring before it.  The scenes were later broken up into multiple shots photographed from different distances and angles.  Other techniques such as camera movement were developed as effective ways to tell a story with film.  Until sound film became commercially practical in the late 1920’s, motion pictures were purely visual art, but these innovative silent films had gained a hold on the public imagination.  Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920’s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions.

The rise of European cinema was interrupted by the outbreak of World War I, while the film industry in the United States flourished with the rise of Hollywood, typified most prominently by the innovative work of D. W. Griffith in The Birth of a Nation (1915) and Intolerance (1916).  However, in the 1920’s, European filmmakers such as Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton, and others, quickly caught up with American film-making and continued to further advance the medium.

Sound

In the 1920’s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music, and sound effects synchronized with the action on the screen.  The resulting sound films were initially distinguished from the usual silent moving pictures or movies by calling them talking pictures or talkies.  The revolution they wrought was swift.  By 1930, silent film was practically extinct in the US and already being referred to as the old medium.

The evolution of sound in cinema began with the idea of combining moving images with existing phonograph sound technology.  Early sound-film systems, such as Thomas Edison’s Kinetoscope and the Vitaphone used by Warner Bros., laid the groundwork for synchronized sound in film.  The Vitaphone system, produced alongside Bell Telephone Company and Western Electric, faced initial resistance due to expensive equipping costs, but sound in cinema gained acceptance with movies like Don Juan (1926) and The Jazz Singer (1927).

American film studios, while Europe standardized on Tobis-Klangfilm and Tri-Ergon systems.  This new technology allowed for greater fluidity in film, giving rise to more complex and epic movies like King Kong (1933).

As the television threat emerged in the 1940’s and 1950’s, the film industry needed to innovate to attract audiences.  In terms of sound technology, this meant the development of surround sound and more sophisticated audio systems, such as Cinerama’s seven-channel system.  However, these advances required a large number of personnel to operate the equipment and maintain the sound experience in cinemas.

In 1966, Dolby Laboratories introduced the Dolby A noise reduction system, which became a standard in the recording industry and eliminated the hissing sound associated with earlier standardization efforts.  Dolby Stereo, a revolutionary surround sound system, followed and allowed cinema designers to take acoustics into consideration when designing cinemas.  This innovation enabled audiences in smaller venues to enjoy comparable audio experiences to those in larger city cinemas.

Today, the future of sound in film remains uncertain, with potential influences from artificial intelligence, remastered audio, and personal viewing experiences shaping its development.  However, it is clear that the evolution of sound in cinema has been marked by continuous innovation and a desire to create more immersive and engaging experiences for audiences.

Colour

A significant technological advancement in the film industry was the introduction of natural colour, where colour was captured directly from nature through photography, as opposed to being manually added to black-and-white prints using techniques like hand-coloring or stencil-coloring.  Early colour processes often produced colours that appeared far from natural.  Unlike the rapid transition from silent films to sound films, colour’s replacement of black-and-white happened more gradually.

The crucial innovation was the three-strip version of the Technicolor process, first used in animated cartoons in 1932.  The process was later applied to live-action short films, specific sequences in feature films, and finally, to an entire feature film, Becky Sharp, in 1935.  Although the process was expensive, the positive public response, as evidenced by increased box office revenue, generally justified the additional cost.  Consequently, the number of films made in color gradually increased year after year.

The 1950’s: The Growing Influence Of Television

In the early 1950’s, the proliferation of black-and-white television started seriously depressing North American cinema attendance.  In an attempt to lure audiences back into cinemas, bigger screens were installed, widescreen processes, polarised 3D projection, and stereophonic sound were introduced, and more films were made in colour, which soon became the rule rather than the exception.  Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960’s, but they marked the end of an era.  Colour television receivers had been available in the U.S. since the mid-1950’s, but at first, they were very expensive and few broadcasts were in colour.  During the 1960’s, prices gradually came down, colour broadcasts became common, and sales boomed.  The overwhelming public verdict in favour of colour was clear.  After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in colour, with the usual exceptions made only at the insistence of star filmmakers such as Peter Bogdanovich and Martin Scorsese.

The 1960’s And Later

The decades following the decline of the studio system in the 1960’s saw changes in the production and style of film.  Various New Wave movements (including the French New Wave, New German Cinema wave, Indian New Wave, Japanese New Wave, New Hollywood, and Egyptian New Wave) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century.  Digital technology has been the driving force for change throughout the 1990’s and into the 2000’s.  Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in the early 2010’s. 

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Salah Zulfikar, one of the most popular actors in the golden age of Egyptian Cinema.

Etymology And Alternative Terms

The name film originally referred to the thin layer of photochemical emulsion on the celluloid strip that used to be the actual medium for recording and displaying motion pictures.

The most common term in Europe is film while in the United States,  movie is preferred.

Archaic terms include animated pictures and animated photography. Common terms for the field, in general, include the big screen, the silver screen, the movies, and cinema.  The last of these is commonly used, as an overarching term, in scholarly texts and critical essays.  In the early years, the word sheet was sometimes used instead of screen.

Recording And Transmission Of The Film

The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of C.G.I. and computer animation, or by a combination of some or all of these techniques, and other visual effects.

Before the introduction of digital production, a series of still images were recorded on a strip of chemically sensitised celluloid (photographic film stock), usually at a rate of 24 frames per second.  The images are transmitted through a movie projector at the same rate as they were recorded, with a Geneva drive ensuring that each frame remains still during its short projection time.  A rotating shutter causes stroboscopic intervals of darkness, but the viewer does not notice the interruptions due to flicker fusion.  The apparent motion on the screen is the result of the fact that the visual sense cannot discern the individual images at high speeds, so the impressions of the images blend with the dark intervals and are thus linked together to produce the illusion of one moving image.  An analogous optical soundtrack (a graphic recording of the spoken words, music, and other sounds) runs along a portion of the film exclusively reserved for it and is not projected.

Contemporary films are usually fully digital through the entire process of production, distribution, and exhibition.

Film Theory

Film theory seeks to develop concise and systematic concepts that apply to the study of film as art.  The concept of film as an art-form began in 1911 with Ricciotto Canudo’s manifest The Birth of the Sixth Art.  The Moscow Film School, the oldest film school in the world, was founded in 1919, in order to teach about and research film theory.  Formalist film theory, led by Rudolf Arnheim, Bela Balazs, and Siegfried Kracauer, emphasized how film differed from reality and thus could be considered a valid fine art.  Andre Bazin reacted against this theory by arguing that film’s artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory.  More recent analysis spurred by Jacques Lacan’s psychoanalysis and Ferdinand de Saussure’s semiotics among other things has given rise to psychoanalytic film theory, structuralist film theory, feminist film theory, and others.  On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film’s vocabulary and its link to a form of life.

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The Bolex H16 Reflex camera.

Language

Film is considered to have its own language.  James Monaco wrote a classic text on film theory, titled How to Read a Film, that addresses this.  Director Ingmar Bergman famously said, “Andrei Tarkovsky for me is the greatest director, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”  An example of the language is a sequence of back and forth images of one speaking actor’s left profile, followed by another speaking actor’s right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation.  This describes another theory of film, the 180-degree rule, as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing.  The Hollywood style includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film’s classical era.  Another example of cinematic language is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition.

Montage

Read more about Montage here.

Montage is a film editing technique in which separate pieces of film are selected, edited, and assembled to create a new section or sequence within a film.  This technique can be used to convey a narrative or to create an emotional or intellectual effect by juxtaposing different shots, often for the purpose of condensing time, space, or information.  Montage can involve flashbacks, parallel action, or the interplay of various visual elements to enhance the storytelling or create symbolic meaning.

The concept of montage emerged in the 1920’s, with pioneering Soviet filmmakers such as Sergei Eisenstein and Lev Kuleshov developing the theory of montage. Eisenstein’s film Battleship Potemkin (1925) is a prime example of the innovative use of montage, where he employed complex juxtapositions of images to create a visceral impact on the audience. 

As the art of montage evolved, filmmakers began incorporating musical and visual counterpoint to create a more dynamic and engaging experience for the viewer.  The development of scene construction through mise-en-scène, editing, and special effects led to more sophisticated techniques that can be compared to those utilized in opera and ballet.

The French New Wave movement of the late 1950’s and 1960’s also embraced the montage technique, with filmmakers such as Jean-Luc Godard and François Truffaut using montage to create distinctive and innovative films.  This approach continues to be influential in contemporary cinema, with directors employing montage to create memorable sequences in their films.

In contemporary cinema, montage continues to play an essential role in shaping narratives and creating emotional resonance.  Filmmakers have adapted the traditional montage technique to suit the evolving aesthetics and storytelling styles of modern cinema:

Rapid editing and fast-paced montages: With the advent of digital editing tools, filmmakers can now create rapid and intricate montages to convey information or emotions quickly.  Films like Darren Aronofsky’s Requiem for a Dream (2000) and Edgar Wright’s Shaun of the Dead (2004) employ fast-paced editing techniques to create immersive and intense experiences for the audience.

Music video influence: The influence of music videos on film has led to the incorporation of stylized montage sequences, often accompanied by popular music.  Films like Guardians of the Galaxy (2014) and Baby Driver (2017) use montage to create visually striking sequences that are both entertaining and narratively functional.

Sports and training montages: The sports and training montage has become a staple in modern cinema, often used to condense time and show a character’s growth or development.  Examples of this can be found in films like Rocky (1976), The Karate Kid (1984), and Million Dollar Baby (2004).

Cross-cutting and parallel action: Contemporary filmmakers often use montage to create tension and suspense by cross-cutting between parallel storylines.  Christopher Nolan’s Inception (2010) and Dunkirk (2017) employ complex cross-cutting techniques to build narrative momentum and heighten the audience’s emotional engagement.

Thematic montage: Montage can also be used to convey thematic elements or motifs in a film.  Wes Anderson’s The Royal Tenenbaums (2001) employs montage to create a visual language that reflects the film’s themes of family, nostalgia, and loss.

As the medium of film continues to evolve, montage remains an integral aspect of visual storytelling, with filmmakers finding new and innovative ways to employ this powerful technique.

Film Criticism

Film criticism is the analysis and evaluation of films.  In general, these works can be divided into two categories, academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.  Film critics working for newspapers, magazines, and broadcast media mainly review new releases.  Normally they only see any given film once and have only a day or two to formulate their opinions.  Despite this, critics have an important impact on the audience response and attendance at films, especially those of certain genres.  Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic’s overall judgment of a film.  The plot summary and description of a film and the assessment of the director’s and screenwriters’ work that makes up the majority of most film reviews can still have an important impact on whether people decide to see a film.  For prestige films such as most dramas and art films, the influence of reviews is important.  Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance.

The impact of a reviewer on a given film’s box office performance is a matter of debate.  Some observers claim that movie marketing in the 2000’s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success.  However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence.  Other observers note that positive film reviews have been shown to spark interest in little-known films.  Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film.  However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.  Journalist film critics are sometimes called film reviewers.  Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people.  Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines.  They also tend to be affiliated with colleges or universities as professors or instructors.

In 1986, Roger Ebert, winner of the Pulitzer Prize for Criticism said, “If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share the same dreams and hurts, then it deserves to be called great.”

Industry

Read more about Industry here. Read more about World Cinema

The making and showing of motion pictures became a source of profit almost as soon as the process was invented.  Upon seeing how successful their new invention, and its product, was in their native France, the Lumieres quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses.  In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import, and screen additional product commercially.  The Oberammergau Passion Play of 1898 was the first commercial motion picture ever produced.  Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world.  Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.  From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States, much of the film industry is centered around Hollywood, California.  Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry’s Hindi cinema which produces the largest number of films in the world.  Though the expense involved in making films has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, an example being Kevin Costner’s Waterworld.  Yet many filmmakers strive to create works of lasting social significance.  The Academy Awards (also known as the Oscars) are the most prominent film awards in the United States, providing recognition each year to films, based on their artistic merits (but it has got so woke lately that is questionable indeed).   There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.   Revenue in the industry is sometimes volatile due to the reliance on blockbuster films released in movie theaters.  The rise of alternative home entertainment has raised questions about the future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films.

World Cinema

Read more about World Cinema here.

World cinema is a term in film theory that refers to films made outside of the American motion picture industry, particularly those in opposition to the aesthetics and values of commercial American cinema.  The Third Cinema of Latin America and various national cinemas are commonly identified as part of world cinema.  The term has been criticized for Americentrism and for ignoring the diversity of different cinematic traditions around the world.

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Most productive cinemas around the world based on IMDb (as of 2009).  Over 10,000 titles (green), over 5,000 (yellow), over 1,000 (blue).

Associated Fields

Read more about Film theory here, Product placement here, and Propaganda here.

Derivative academic fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis.  Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects (e.g., of a flashing soda can during a screening).  These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide.  Sub-industries can spin off from film, such as popcorn makers, and film-related toys (e.g., Star Wars figures).  Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films.

Terminology

The terminology used for describing motion pictures varies considerably between British and American English.  In British usage, the name of the medium is film.  The word movie is understood but seldom used.  Additionally, the pictures (plural) is used semi-frequently to refer to the place where movies are exhibited, while in American English this may be called the movies, but it is becoming outdated.  In other countries, the place where movies are exhibited may be called a cinema or movie theatre.  By contrast, in the United States, movie is the predominant form.  Although the words film and movie are sometimes used interchangeably, film is more often used when considering artistic, theoretical, or technical aspects.  The term movies more often refers to entertainment or commercial aspects, such as where to go for a fun evening on a date.  For example, a book titled How to Understand a Film would probably be about the aesthetics or theory of film, while a book entitled Let’s Go to the Movies would probably be about the history of entertaining movies and blockbusters.

Further terminology is used to distinguish various forms and media used in the film industry.  Motion pictures and moving pictures are frequently used terms for film and movie productions specifically intended for theatrical exhibition, such as, for instance, Star Wars. DVD and videotape are video formats that can reproduce a photochemical film.  A reproduction based on such is called a transfer.  After the advent of theatrical film as an industry, the television industry began using videotape as a recording medium.  For many decades, the tape was solely an analogue medium onto which moving images could be either recorded or transferred.  Film and filming refer to the photochemical medium that chemically records a visual image and the act of recording respectively.  However, the act of shooting images with other visual media, such as with a digital camera, is still called filming and the resulting works are often called films as interchangeable with movies, despite not being shot on film.  Silent films need not be utterly silent but are films and movies without an audible dialogue, including those that have a musical accompaniment.  The word, Talkies, refers to the earliest sound films created to have audible dialogue recorded for playback along with the film, regardless of a musical accompaniment.  Cinema either broadly encompasses both films and movies, or it is roughly synonymous with film and theatrical exhibition, and both are capitalised when referring to a category of art.  The silver screen refers to the projection screen used to exhibit films and, by extension, is also used as a metonym for the entire film industry.

Widescreen refers to a larger width to height in the frame, compared to earlier historic aspect ratios.  A feature-length film, or feature film, is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening.  A short is a film that is not as long as a feature-length film, often screened with other shorts, or preceding a feature-length film.  An independent is a film made outside the conventional film industry.

In U.S. usage, one talks of a screening or projection of a movie or video on a screen at a public or private theatre.  In British English, a film showing happens at a cinema, never a theatre, which is a different medium and place altogether.  A cinema usually refers to an arena designed specifically to exhibit films, where the screen is affixed to a wall, while a theatre usually refers to a place where live, non-recorded action or combination thereof occurs from a podium or other type of stage, including the amphitheatre.  Theatres can still screen movies in them, though the theatre would be retrofitted to do so.  One might propose going to the cinema when referring to the activity, or sometimes to the pictures in British English, whereas the U.S. expression is usually going to the movies.  A cinema usually shows a mass-marketed movie using a front-projection screen process with either a film projector or, more recently, with a digital projector.  But, cinemas may also show theatrical movies from their home video transfers that include Blu-ray Disc, DVD, and videocassette when they possess sufficient projection quality or based upon need, such as movies that exist only in their transferred state, which may be due to the loss or deterioration of the film master and prints from which the movie originally existed.  Due to the advent of digital film production and distribution, physical film might be absent entirely.  A double feature is a screening of two independently marketed, stand-alone feature films.  A viewing is a watching of a film.  Sales and at the box office refer to tickets sold at a theatre, or more currently, rights sold for individual showings.  A release is the distribution and often simultaneous screening of a film.  A preview is a screening in advance of the main release.

Any film may also have a sequel, which portrays events following those in the film.  Bride of Frankenstein is an early example.  When there are more films than one with the same characters, story arcs, or subject themes, these movies become a series, such as the James Bond series.  And, existing outside a specific story timeline usually, does not exclude a film from being part of a series.  A film that portrays events occurring earlier in a timeline with those in another film, but is released after that film, is sometimes called a prequel, an example being Butch and Sundance: The Early Days.

The credits, or end credits, are a list that gives credit to the people involved in the production of a film.  Films from before the 1970’s usually start a film with credits, often ending with only a title card, saying The End or some equivalent, often an equivalent that depends on the language of the production.  From then onward, a film’s credits usually appear at the end of most films.  However, films with credits that end a film often repeat some credits at or near the start of a film and therefore appear twice, such as that film’s acting leads, while less frequently some appearing near or at the beginning only appear there, not at the end, which often happens to the director’s credit.  The credits appearing at or near the beginning of a film are usually called titles or beginning titles.  A post-credits scene is a scene shown after the end of the credits.  Ferris Bueller’s Day Off has a post-credit scene in which Ferris tells the audience that the film is over and they should go home.

A film’s cast refers to a collection of the actors and actresses who appear, or star, in a film.  A star is an actor or actress, often a popular one, and in many cases, a celebrity who plays a central character in a film.  Occasionally the word can also be used to refer to the fame of other members of the crew, such as a director or other personality, such as Martin Scorsese.  A crew is usually interpreted as the people involved in a film’s physical construction outside cast participation, and it could include directors, film editors, photographers, grips, gaffers, set decorators, prop masters, and costume designers.  A person can both be part of a film’s cast and crew, such as Woody Allen, who directed and starred in Take the Money and Run.

A film goer, movie goer, or film buff is a person who likes or often attends films and movies, and any of these, though more often the latter, could also see oneself as a student of films and movies.  Intense interest in films, film theory, and film criticism, is known as cinephilia.  A film enthusiast is known as a cinephile or cineaste.

Preview

Read more about Test screening here.

A preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself.  Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections based on the audience response.  One example of a film that was changed after a negative response from the test screening is 1982’s First Blood.  After the test audience responded very negatively to the death of protagonist John Rambo (a Vietnam veteran) at the end of the film, the company wrote and re-shot a new ending in which the character survives.

Trailer And Teaser

Read more about the Film trailer here.

Trailers or previews are advertisements for films that will be shown in 1 to 3 months at a cinema.  Back in the early days of cinema, with cinemas that had only one or two screens, only certain trailers were shown for the films that were going to be shown there.  Later, when cinemas added more screens or new cinemas were built with a lot of screens, all different trailers were shown even if they were not going to play that film in that cinema.  Film studios realised that the more trailers that were shown (even if it was not going to be shown in that particular cinema) the more patrons would go to a different cinema to see the film when it came out.  The term trailer comes from their having originally been shown at the end of a film.  That practice did not last long because patrons tended to leave the theatre after the films ended, but the name stuck.  Trailers are now shown before the film, or when the first film in a double feature begins.  Film trailers are also common on DVD’s and Blu-ray Discs, as well as on the Internet and mobile devices.  Trailers are created to be engaging and interesting for viewers.  As a result, in the Internet era, viewers often seek out trailers to watch them.  Of the ten billion videos watched online annually in 2008, film trailers ranked third, after news and user-created videos.  Teasers are a much shorter preview or advertisement that lasts only 10 to 30 seconds.  Teasers are used to get patrons excited about a film coming out in the next six to twelve months.  Teasers may be produced even before the film production is completed.

The Role Of Film In Culture

Films are cultural artefacts created by specific cultures, facilitating intercultural dialogue.  It is considered to be an important art form that provides entertainment and historical value, often visually documenting a period of time.  The visual basis of the medium gives it a universal power of communication, often stretched further through the use of dubbing or subtitles to translate the dialogue into other languages. Just seeing a location in a film is linked to higher tourism to that location, demonstrating how powerful the suggestive nature of the medium can be.

Education And Propaganda

Read more about Educational films here and Propaganda films here.

Film is used for a range of goals, including education and propaganda due to its ability to effectively intercultural dialogue.  When the purpose is primarily educational, a film is called an educational film.  Examples are recordings of academic lectures and experiments, or a film based on a classic novel.  Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, U.S. war film trailers during World War II, or artistic films made under Stalin by Sergei Eisenstein.  They may also be works of political protest, as in the films of Andrzej Wajda, or more subtly, the films of Andrei Tarkovsky.  The same film may be considered educational by some, and propaganda by others as the Film is used for a range of goals, including education and propaganda due to its ability to effectively intercultural dialogue. When the purpose is primarily educational, a film is called an educational film. Examples are recordings of academic lectures and experiments, or a film based on a classic novel. Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, U.S. war film trailers during World War II, or artistic films made under Stalin by Sergei Eisenstein. They may also be works of political protest, as in the films of Andrzej Wajda, or more subtly, the films of Andrei Tarkovsky.  The same film may be considered educational by some, and propaganda by others as the categorisation of a film can be subjective.

Production

Read more about Filmmaking here

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it e.g. the zoetrope merely requires a series of images on a strip of paper.  Film production can, therefore, take as little as one person with a camera, or even without a camera, as in Stan Brakhage’s 1963 film Mothlight, or thousands of actors, extras, and crew members for a live-action, feature-length epic.  The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution.  The more involved the production, the more significant each of the steps becomes.  In a typical production cycle of a Hollywood-style film, these main stages are defined as development, pre-production, production, post-production and distribution.

This production cycle usually takes three years.  The first year is taken up with development.  The second year comprises preproduction and production.  The third year, post-production and distribution.  The bigger the production, the more resources it takes, and the more important financing becomes.  Most feature films are artistic works from the creators’ perspective, e.g., film directors, cinematographers, screenwriters and for-profit business entities for the production companies.

Crew

Read more about the Film crew here.

A film crew is a group of people hired by a film company, and employed during the production or photography phase, for the purpose of producing a film or motion picture.  Crew is distinguished from cast, who are the actors who appear in front of the camera or provide voices for characters in the film.  The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in the pre-production or post-production phases, such as screenwriters and film editors.  Communication between production and crew generally passes through the director and his/her staff of assistants.  Medium-to-large crews are generally divided into departments with well-defined hierarchies and standards for interaction and cooperation between the departments.  Other than acting, the crew handles everything in the photography phase such as props and costumes, shooting, sound, electrics, i.e., lights, sets, and production special effects.  Caterers (known in the film industry as craft services) are usually not considered part of the crew.

Technology

Read more about Cinema Techniques here.

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals.  Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials.  Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theatres) as 35 mm prints.  Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (162/3 frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).  When synchronised sound film was introduced in the late 1920’s, a constant speed was required for the sound head.  24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality.  The standard was set with Warner Bros.’s The Jazz Singer and their Vitaphone system in 1927.  Improvements since the late 19th century include the mechanisation of cameras which allows them to record at a consistent speed and quiet camera design thus allowing sound recorded on-set to be usable without requiring large blimps to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action.  The soundtrack can be recorded separately from shooting the film, but many parts of the soundtrack are usually recorded simultaneously for live-action pictures.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography.  It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations and often has importance as primary historical documentation.  However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives.  Most films on cellulose nitrate base have been copied onto modern safety films. Some studios save colour films through the use of separation masters which are three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process).  Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation.  Film preservation of decaying film stock is a matter of concern to both film historians and archivists and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue).  Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analogue video technology similar to that used in television production.  Modern digital video cameras and digital projectors are gaining ground as well.  These approaches are preferred by some film-makers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (N.L.E.) without waiting for the film stock to be processed.  The migration was gradual, and as of 2005, most major motion pictures were still shot on film.

Independent

Read more about Independent film here.

Independent filmmaking often takes place outside Hollywood or other major studio systems.  An independent film (or indie film) is a film initially produced without financing or distribution from a major film studio.  Creative, business and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.  On the business side, the costs of big-budget studio films also lead to conservative choices in cast and crew.  There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).  A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television.  Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.  The advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990’s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered.  In the 2000’s, the hardware and software for post-production could be installed in a commodity-based personal computer.  Technologies such as DVD’s, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.

Since the introduction of digital video D.V. technology, the means of production have become more democratised.  Filmmakers can conceivably shoot a film with a digital video camera and edit the film, create and edit the sound and music, and mix the final cut on a high-end home computer.  However, while the means of production may be democratised, financing, distribution, and marketing remain difficult to accomplish outside the traditional system.  Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution.  The arrival of internet-based video websites such as YouTube and Veoh has further changed the filmmaking landscape, enabling indie filmmakers to make their films available to the public.

Image © unknown via Wikipedia

The Lumiere Brothers were among the first filmmakers.

Open Content Film

Read more about Open content film here.

An open-content film is much like an independent film, but it is produced through open collaborations.  Its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright.  Like independent filmmaking, open source filmmaking takes place outside Hollywood or other major studio systems.  For example, the film Balloon was based on a real event during the Cold War.

Fan Film

Read more about Fan films here.

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source’s copyright holders or creators.  Fan filmmakers have traditionally been amateurs, but some of the most notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels.  Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

Distribution

Read more about Film distribution here and Film release here.

Film distribution is the process through which a film is made available for viewing by an audience.  This is normally the task of a professional film distributor, who would determine the marketing strategy of the film, the media by which a film is to be exhibited or made available for viewing, and may set the release date and other matters.  The film may be exhibited directly to the public either through a cinema (historically the main way films were distributed) or television for personal home viewing including on DVD-Video or Blu-ray Disc, video-on-demand, online downloading, television programs through broadcast syndication etc.  Other ways of distributing a film include rental or personal purchase of the film in a variety of media and formats, such as VHS tape or DVD, or Internet downloading or streaming using a computer.

Animation

Read more about Animation here.

Animation is a technique in which each frame of a film is produced individually, whether generated as a computer graphic (by photographing a drawn image), or by repeatedly making small changes to a model unit (see
claymation and stop motion), and then photographing the result with a special animation camera.  When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the phi phenomenon).  Generating such a film is very labour-intensive and tedious, though the development of computer animation has greatly sped up the process. Because animation is very time-consuming and often very expensive to produce, the majority of animation for television and films comes from professional animation studios.  However, the field of independent animation has existed at least since the 1950’s, with animation being produced by independent studios and sometimes by a single person.  Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing the costs of animation by using shortcuts in the animation process.  This method was pioneered by U.P.A. and popularized by Hanna-Barbera in the United States, and by Osamu Tezuka in Japan, and adapted by other studios as cartoons moved from movie theatres to television.  Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film.  Camera-less animation, made famous by filmmakers like Norman McLaren, Len Lye, and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

 

Image © Janke via Wikipedia

Further Information

Blog Posts

Films: Angel Studios.

Films: Sound Of Freedom.

Films: Tim Ballard.

Notes And Links

Article source: Wikipedia and is subject to change.

Bence Szemerey on Pexels
– The image shown at the top of this page is the copyright of Bence Szemerey.  You can find more great work from the photographer Bence and lots more free stock photos at Pexels.

The Prof. Stampfer’s Stroboscopische Scheibe No. X animation above is the copyright of Simon Ritter von Stampfer and is in the public domain.

The Horse In Motion animation above is the copyright of Eadweard Muybridge and is in the public domain.

The image above of a picture of Ottomar’s Anschutz’s electrotachyscope is  copyright unknown as is in the public domain.

The video above of Roundhay Garden Scene is in the public domain.  You can read more about the film by clicking here.

The video above of Pauvre Pierrot is in the public domain.  You can read more about the film by clicking here.

The video above of Le voyage dans la lune is in the public domain.  You can read more about the film by clicking here.

The video above of The Bond is in the public domain.  You can read more about the film by clicking here.

The image above of a picture of Salah Zulfikar, is  copyright unknown as is in the public domain.

The image above of The Bolex H16 Reflex camera is the copyright of Wikipedia user Janke and is in the public domain.   

The image above of The Most Productive Cinemas Around The World is copyright unknown via Wikipedia.   It comes with a Creative Commons licence (CC BY-SA 3.0).

The image above of The Lumiere Brothers is copyright unknown as is in the public domain.

The image above of an Animated Horse is the copyright of Wikipedia user Janke and is in the public domain.  It comes with a Creative Commons licence (CC BY-SA 2.5).

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

IMDb – Official website.   IMDb is an online database of information related to films, television series, podcasts, home videos, video games, and streaming content online, including cast, production crew and personal biographies, plot summaries, trivia, ratings, and fan and critical reviews.   

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Universal Classic Monsters

Image © of Universal Pictures via Wikipedia

Ever since I was little I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them, ha ha.  That changed the older I got. 

When Halloween comes around you can be sure someone is wearing an Halloween costume that relates to one of the classic monsters mentioned below.

There will be more references to Universal Classic Monsters in the appropriate Decades sections and articles via the Horror index below.

Universal Classic Monsters

Universal Classic Monsters (also known as Universal Monsters and Universal Studios Monsters) is a media franchise based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s.  Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them have led the studio to market them under the collective brand name of Universal Studios Monsters.  Steve Jones of USA Today described Universal’s most famous monsters as pop culture icons, specifically Dracula, Frankenstein, The Mummy and The Wolf Man.

Universal Pictures image from the Internet Archive via Wikipedia and is in the public domain

Bela Lugosi as Dracula.

This is a screenshot from the Internet Archive of the classic 1931 film Dracula.  You can see the trailer it came from here

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as The Mummy.

This is a screenshot from the Internet Archive of the classic 1932 film The Mummy.  You can see the trailer it came from here

Universal Pictures image via IMDb

Boris Karloff as Frankenstein’s Monster.

Directed by James Whale.

You can see the trailer for the classic Frankenstein film from 1931 via The Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain

Lon Chaney Jnr. as The Wolf Man.

This promotional photo is from the classic1941 film The Wolf Man.

You can see the trailer for The Wolf Man via The Internet Archive here.

See more photos and relevant information further down below.

Universal Monsters Films 

For an extensive list of Universal Monsters Films click here.

Universal Monsters Films Free To Watch

Below are just some of the great Universal Monsters films for you to enjoy.

They are not all classic films to me but if I have watched one and I think it is I will say so.

The Phantom Of The Opera 1925 Silent Film In Full

Watch the classic 1925 silent film The Phantom Of The Opera starring Lon Chaney via The Internet Archive here.

See information about this classic film further down at the top of the page.

Dracula 1931 In Full

Watch the classic 1931 film Dracula starring Bela Lugosi via The Internet Archive here.

See information about this classic film at the top of the page.

Frankenstein 1931 In Full

Watch the classic 1931 film Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Mummy 1932 In Full

Watch the classic 1932 film The Mummy starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Invisible Man 1933 In Full

Watch the classic 1933 film The Invisible Man starring Claude Rains via The Internet Archive here.

See information about this classic film further down at the bottom of the page.

The Bride Of Frankenstein 1935 In Full

Watch the 1935 film The Bride Of Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this film further down at the bottom of the page.

Frankenstein Meets The Wolf Man 1942 In Full

Watch the 1942 film Frankenstein Meets The Wolf Man starring Boris Karloff and Lon Chaney Jnr via The Internet Archive here.

See information about this film further down at the bottom of the page.

Universal Classic Monsters Home Video 

Image © of Universal Pictures via Wikipedia

Universal Classic Monsters logo.

This is the official franchise logo as displayed on home video releases

Louis Feola was the head of Worldwide Home Video for Universal Studios and said in 1999 that “a couple of years ago” he decided to “reinvigorate and re-market” Universal’s Classic Monsters catalogue which included the series Dracula, Frankenstein, The Invisible Man, The Phantom of the Opera, The Wolf Man, and The Mummy.  In 1992, in an interview with Billboard, Feola stated that to market and sell home video, the most important thing was the packaging of their sales which was “probably our single biggest priority and has been for a number of years”, and that it was key to make the series of films “look like a line”.

In 1995, MCA/Universal released a collection of the film on home video under the title The Universal Studios Monsters Classic Collection.  This series included Frankenstein, Dracula, The Mummy, The Invisible Man, and The Creature From the Black Lagoon series.  A collection of stamps featuring Universal Classic Monsters was also released in September 1997 titled the Universal Classic Movie Monsters series.  Other characters included in the series included the Mummy and Frankenstein’s monster, both played by Boris Karloff), the Phantom of the Opera played by Lon Chaney and the Wolf Man played by Lon Chaney Jnr.

Universal Classic Monsters Merchandising

After the Universal horror films were syndicated to television, this led to a rise in the popularity of merchandise based on Frankenstein’s monster and Dracula.  Throughout the 1960s and into the 1970s, the Universal monsters were promoted via merchandising which included: Halloween costumes, Aurora model kits, paperback novelizations, makeup how-to manuals, T-shirt iron-ons, posters, trading cards, and more.  Since 1991, Halloween Horror Nights at Universal Parks & Resorts have featured characters from the Universal Classic Monsters franchise.  From 2006 to 2014, the characters also appeared in the year-round walk-through attraction, Universal’s House of Horrors, at Universal Studios Hollywood.  The franchise is also the central theme of Universal’s Horror Make-Up Show.  The live show opened in 1990 at Universal Studios Florida and is still in operation.  Merchandising of the characters in formats such as clothing and board games has continued into the 21st century.

Universal Monsters Comics

Dark Horse Comics

You can read more about Dark Horse Comics here

Dark Horse Comics released comic adaptions of several of the films, featuring four one-shots and one collected edition, in 1993 and 2006, respectively.  

You can see which comics Dark Horse Comics produced here.

Skybound Entertainment 

You can read more about Skybound Entertainment here.

Skybound Entertainment, an Image Comics company, will publish a new series of Universal Monsters comic books.

You can read more about Image Comics here.

You can see which comics Skybound Entertainment produced here.

Universal Monsters Photos

Below are just some of the great Universal Monsters films photos for you to enjoy.  They are not all classic films to me but if I have watched one and I  think it is I will say so.

Universal Pictures image via IMDb

Lon Chaney as The Phantom Of The Opera.

This photo is from the classic 1925 silent film The Phantom Of The Opera.  

You can see the trailer for The Phantom Of The Opera via the Internet Archive here.

Universal Pictures image by unknown via Wikipedia and is the public domain

The Phantom Of The Opera 1925 film poster.

Universal Pictures image by unknown via Wikipedia and is the public domain

Dracula 1931 film poster.

See information about this classic film at the top of the page.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

Frankenstein 1931 film poster.

See information about this classic film at the top of the page.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This is a very cool Universal Classic Monsters mask I purchased for Halloween 2023.  It is officially licenced by Universal Studios and made for Trick Or Treat StudiosIt is, to date, the favourite mask I have in my mask collection and what I have worn for Halloween parties.  To see me in this and many more masks click here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Mummy 1932 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Claude Rains as The Invisible Man.

This photo is from the classic 1933 film The Invisible Man

Directed by James Whale.

You can see the trailer for The Invisible Man via YouTube here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Invisible Man 1933 film poster.

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as Frankenstein’s Monster.

This promotional photo is from the 1935 film The Bride of Frankenstein.

Directed by James Whale.

You can see the trailer for The Bride Of Frankenstein via the Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain
Image © of Universal Pictures via Wikipedia

The Wolf Man 1942 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Nelson Eddy as The Phantom Of The Opera.

This photo is from the 1943 film Phantom Of The Opera

You can see the trailer for Phantom Of The Opera via YouTube here.

Universal Pictures via Wikipedia and is the public domain

Phantom Of The Opera 1943 film poster.

Universal Pictures via Wikipedia and is the public domain

Creature From The Black Lagoon 1945 film poster.

Universal Pictures via IMDb

Ben Chapman as The Creature From The Black Lagoon. 

There were two men playing the creature in the film, Ricou Browning in the water and Ben Chapman out of the water (shown here).  None of them were credited which was unfair in my opinion considering they were both playing the actual monster in the film title and for that reason, I have rightly acknowledged them both here.

This photo is from the 1954 film Creature From The Black Lagoon

You can see the trailer for Creature From The Black Lagoon via the Internet Archive here.

You can see references and sources to the above articles here.  The above was sourced from a page on Wikipedia and is subject to change. 

Blog Posts

Links

Universal Pictures – Official website.  The image shown at the top of this page, and elsewhere, of the Universal Classic Monsters logo is the copyright of Universal Pictures and was taken from Wikipedia.

The image above of Bela Lugosi as Dracula is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as The Mummy is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as Frankenstein’s Monster is via Wikipedia and in the public domain.

The image above of Lon Chaney Jnr. as The Wolf Man is via Wikipedia.

The image above of Lon Chaney as The Phantom Of The Opera is via IMDb.

The image above of  The Phantom Of The Opera 1925 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Dracula 1931 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Frankenstein 1931 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The Frankenstein mask photos above are copyright of Universal via Universal Studios and Trick Or Treat Studios.

The image above of The Mummy 1932 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Claude Rains as The Invisible Man is from IMDb.

The image above of The Invisible Man 1933 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Frankenstein’s monster is via Wikipedia and in the public domain.

The image above of The Bride Of Frankenstein 1935 film poster is via Wikipedia and in the public domain.

The image above of The Wolf Man 1942 film poster by unknown is via Wikipedia.

The image above of Nelson Eddy as The Phantom Of The Opera is via IMDb.

The image above of Phantom Of The Opera 1943 film poster by inknown is via Wikipedia and in the public domain.

IMDb on Facebook.

IMDb on Twitter.

IMDb on YouTube.

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information. 

Horror

Image © of Alexa_Fotos via Pixabay

What is there not to like about horror? It is an escapism from the real world and so damn cool.  I love so much about it.  This page concentrates on the Horror genre and anything I post about that can be seen in Blog Posts below.

I have been a fan of Horror, particularly Horror films since I was little.  I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them., ha ha.  That changed the older I got. 

If you mention anything to do with horror then it is inevitable Halloween is mentioned. 

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha. 

About Horror 

Horror is a genre of fiction that is intended to disturb, frighten or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction.  Literary historian J. A. Cuddon, in 1984, defined the horror story as “a piece of fiction in prose of variable length… which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing”.  Horror intends to create an eerie and frightening atmosphere for the reader.  Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.

Prevalent elements include ghosts, demons, vampires, monsters, zombies, werewolves, the Devil, serial killers, extraterrestrial life, killer toys, psychopaths, gore, torture, evil clowns, cults, cannibalism, vicious animals, the apocalypse, evil witches, dystopia and man-made or natural disasters. 

Image by Gustave Dore via wikipedia and is in the public domain

The Raven by Gustave Dore.

This is an illustration of the 1884 edition of Edgar Allan Poe’s The Raven.  It is referring to the illustration “Doubting, dreaming dreams no mortal ever dared to dream before.”

The History Of Horror 

Before 1000

The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.  These manifested in stories of beings such as demons, witches, vampires, werewolves and ghosts.  European horror fiction became established through the works of the Ancient Greeks and Ancient Romans.  Mary Shelley’s well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death.  Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus.  In Plutarch’s The Lives of the Noble Grecians and Romans in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea.

Pliny the Younger (61 to circa 113) tells the tale of Athenodorus Cananites, who bought a haunted house in Athens.  Athenodorus was cautious since the house seemed inexpensive.  While writing a book on philosophy, he was visited by a ghostly figure bound in chains.  The figure disappeared in the courtyard and the following day, the magistrates dug in the courtyard and found an unmarked grave.

Elements of the horror genre also occur in Biblical texts, notably in the Book of Revelation.

After 1000

The Witch of Berkeley by William of Malmesbury has been viewed as an early horror story.  Werewolf stories were popular in medieval French literature. One of Marie de France’s twelve lais is a werewolf story titled Bisclavret.

The Countess Yolande commissioned a werewolf story titled Guillaume de Palerme.  Anonymous writers penned two werewolf stories, Biclarel and Melion.

Much horror fiction derives from the cruellest personages of the 15th century.  Dracula can be traced to the Prince of Wallachia Vlad III, whose alleged war crimes were published in German pamphlets.  A 1499 pamphlet was published by Markus Ayrer, which is most notable for its woodcut imagery.  The alleged serial killer sprees of Gilles de Rais have been seen as the inspiration for Bluebeard.  The motif of the vampiress is most notably derived from the real-life noblewoman and murderer, Elizabeth Bathory, and helped usher in the emergence of horror fiction in the 18th century, such as through Laszlo Turoczi’s 1729 book Tragica Historia.

Image by unknown via wikipedia and is in the public domain

Vlad The Impaler.

This is a portrait of Vlad Tzepesh (Vlad III).  He was the inspiration for Count Dracula.  Tzepesh ruled from 1455 – 1462 and 1483 – 1496.

18th Century

The 18th century saw the gradual development of Romanticism and the Gothic horror genre.  It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole’s seminal and controversial 1764 novel, The Castle of Otranto.  In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator.  Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste but it proved immediately popular.  Otranto inspired Vathek (1786) by William Beckford, A Sicilian Romance (1790), The Mysteries of Udolpho (1794) and The Italian (1796) by Ann Radcliffe and The Monk (1797) by Matthew LewisA significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.

Image by Joshua Reynolds via wikipedia and is in the public domain

Horace Walpole by Joshua Reynolds.

Image by Henry Justice Ford via wikipedia and is in the public domain

Athenodorus by Henry Justice Ford.

Here Athenodorus confronts the Spectre.  It is from The Strange Story Book by Leonora Blanche Lang and Andrew Lang.

19th Century

The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century.  Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm’s Hansel and Gretel (1812), Mary Shelley’s Frankenstein (1818), John Polidori’s The Vampyre (1819), Charles Maturin’s Melmoth the Wanderer (1820), Washington Irving’s The Legend of Sleepy Hollow (1820), Jane C. Loudon’s The Mummy!: Or a Tale of the Twenty-Second Century (1827), Victor Hugo’s The Hunchback of Notre Dame (1831), Thomas Peckett Prest’s Varney the Vampire (1847), the works of Edgar Allan Poe, the works of Sheridan Le Fanu, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde’s The Picture of Dorian Gray (1890), H. G. Wells’ The Invisible Man (1897), and Bram Stoker’s Dracula (1897).  Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage and screen.

Image by Richard Rothwell via wikipedia and is in the public domain

Mary Shelley By Richard Rothwell.

20th Century

A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing.  For example, Gaston Leroux serialised his Le Fantome de l’Opera (The Phantom Of The Opera) before it became a novel in 1910.   One writer who specialised in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty.  In Russia, the writer Alexander Belyaev popularised these themes in his story Professor Dowell’s Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue, and which was first published as a magazine serial before being turned into a novel.  Later, specialist publications emerged to give horror writers an outlet, prominent among them were Weird Tales and Unknown Worlds.

Influential horror writers of the early 20th century made inroads into these mediums.  Particularly, the venerated horror author H. P. Lovecraft, and his enduring Cthulhu Mythos transformed and popularised the genre of cosmic horror, and M. R. James is credited with redefining the ghost story in that era.

The serial murderer became a recurring theme.  Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon.  The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein.  In 1959, Robert Bloch, inspired by the murders, wrote Psycho.  The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970’s.  In 1981, Thomas Harris wrote Red Dragon, introducing Dr. Hannibal Lecter.  In 1988, the sequel to that novel, The Silence of the Lambs, was published.

Early cinema was inspired by many aspects of horror literature and started a strong tradition of horror films and subgenres that continues to this day.  Up until the graphic depictions of violence and gore on the screen commonly associated with 1960’s and 1970’s slasher films and splatter films, comic books such as those published by EC Comics (most notably Tales From The Crypt) in the 1950’s satisfied readers’ quests for horror imagery that the silver screen could not provide.  This imagery made these comics controversial, and as a consequence, they were frequently censored.

The modern zombie tale dealing with the motif of the living dead harks back to works including H. P. Lovecraft’s stories Cool Air (1925), In The Vault (1926), and The Outsider (1926), and Dennis Wheatley’s Strange Conflict (1941).  Richard Matheson’s novel I Am Legend (1954) influenced an entire genre of apocalyptic zombie fiction emblematized by the films of George A. Romero.

In the late 1960’s and early 1970’s, the enormous commercial success of three books – Rosemary’s Baby (1967) by Ira Levin, The Exorcist by William Peter Blatty, and The Other by Thomas Tryon encouraged publishers to begin releasing numerous other horror novels, thus creating a horror boom.

One of the best-known late-20th-century horror writers is Stephen King, known for Carrie, The Shining, It, Misery and several dozen other novels and about 200 short stories.  Beginning in the 1970’s, King’s stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003.  Other popular horror authors of the period included Anne Rice, Brian Lumley, Graham Masterton, James Herbert, Dean Koontz, Richard Laymon, Clive Barker, Ramsey Campbell, and Peter Straub.

Image © Pinguino Kolb via Wikipedia

Stephen King.

This photo of King was taken at the 2007 New York Comicon in America.

21st Century

Best-selling book series of contemporary times exist in genres related to horror fiction, such as the werewolf fiction urban fantasy Kitty Norville books by Carrie Vaughn (2005 onward).  Horror elements continue to expand outside the genre.  The alternate history of more traditional historical horror in Dan Simmons’s 2007 novel The Terror sits on bookstore shelves next to genre mash-ups such as Pride and Prejudice and Zombies (2009), and historical fantasy and horror comics such as Hellblazer (1993 onward) and Mike Mignola’s Hellboy (1993 onward).  Horror also serves as one of the central genres in more complex modern works such as Mark Z. Danielewski’s House of Leaves (2000), a finalist for the National Book Award.  There are many horror novels for children and teens, such as R. L. Stine’s Goosebumps series or The Monstrumologist by Rick Yancey.  Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions, for example, ParaNorman. These are what can be collectively referred to as children’s horror.  Although it is unknown for sure why children enjoy these movies (as it seems counter-intuitive), it is theorised that it is, in part, grotesque monsters that fascinate kids.  Tangential to this, the internalised impact of horror television programs and films on children is rather under-researched, especially when compared to the research done on the similar subject of violence in TV and film’s impact on the young mind.  What little research there is tends to be inconclusive on the impact that viewing such media has.

Related Genres

Horror Characteristics

One defining trait of the horror genre is that it provokes an emotional, psychological, or physical response within readers that causes them to react with fear.  One of H. P. Lovecraft’s most famous quotes about the genre is “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”.  This is the first sentence from his seminal essay, Supernatural Horror in Literature.  Science fiction historian Darrell Schweitzer has stated, “In the simplest sense, a horror story is one that scares us” and “the true horror story requires a sense of evil, not in necessarily in a theological sense, but the menaces must be truly menacing, life-destroying, and antithetical to happiness.”

In her essay Elements of Aversion, Elizabeth Barrette articulates the need by some for horror tales in a modern world.  She says, “The old fight or flight reaction of our evolutionary heritage once played a major role in the life of every human.  Our ancestors lived and died by it.  Then someone invented the fascinating game of civilization, and things began to calm down. Development pushed wilderness back from settled lands.  War, crime, and other forms of social violence came with civilization and humans started preying on each other, but by and large daily life calmed down.  We began to feel restless, to feel something missing, the excitement of living on the edge, the tension between hunter and hunted.  So we told each other stories through the long, dark nights. when the fires burned low, we did our best to scare the daylights out of each other.  The rush of adrenaline feels good.  Our hearts pound, our breath quickens, and we can imagine ourselves on the edge.  Yet we also appreciate the insightful aspects of horror. Sometimes a story intends to shock and disgust, but the best horror intends to rattle our cages and shake us out of our complacency.  It makes us think, forces us to confront ideas we might rather ignore, and challenges preconceptions of all kinds.  Horror reminds us that the world is not always as safe as it seems, which exercises our mental muscles and reminds us to keep a little healthy caution close at hand.”

In a sense similar to the reason a person seeks out the controlled thrill of a roller coaster, readers in the modern era seek out feelings of horror and terror to feel a sense of excitement.  However, Barrette adds that horror fiction is one of the few mediums where readers seek out a form of art that forces themselves to confront ideas and images they “might rather ignore to challenge preconceptions of all kinds.”

One can see the confrontation of ideas that readers and characters would rather ignore throughout literature in famous moments such as Hamlet’s musings about the skull of Yorick, its implications of the mortality of humanity, and the gruesome end that bodies inevitably come to.  In horror fiction, the confrontation with the gruesome is often a metaphor for the problems facing the current generation of the author.

There are many theories as to why people enjoy being scared. For example, people who like horror films are more likely to score highly for openness to experience, a personality trait linked to intellect and imagination.

It is a now commonly accepted view that the horror elements of Dracula’s portrayal of vampirism are metaphors for sexuality in a repressed Victorian era.  But this is merely one of many interpretations of the metaphor of Dracula.  Jack Halberstam postulates many of these in his essay Technologies of Monstrosity: Bram Stoker’s Dracula.  He writes, “[The] image of dusty and unused gold, coins from many nations and old unworn jewels, immediately connects Dracula to the old money of a corrupt class, to a kind of piracy of nations and to the worst excesses of the aristocracy.”

Halberstram articulates a view of Dracula as manifesting the growing perception of the aristocracy as an evil and outdated notion to be defeated.  The depiction of a multinational band of protagonists using the latest technologies (such as a telegraph) to quickly share, collate, and act upon new information is what leads to the destruction of the vampire.  This is one of many interpretations of the metaphor of only one central figure of the canon of horror fiction, as over a dozen possible metaphors are referenced in the analysis, from the religious to the antisemitic.

Noel Carroll’s Philosophy of Horror postulates that a modern piece of horror fiction’s monster, villain, or a more inclusive menace must exhibit the following two traits which is a menace that is threatening (either physically, psychologically, socially, morally, spiritually, or some combination of the aforementioned) and a menace that is impure (that violates the generally accepted schemes of cultural categorisation.  

Image by John Tenniel via Wikipedia and is in the public domain

The Irish Frankenstein by John Tenniel.

This illustration is from an 1882 issue of Punch and is anti-Irish propaganda.  Tenniel conceives the Irish Fenian movement as akin to Frankenstein’s monster, in the wake of the Phoenix Park killings.  Menacing villains and monsters in horror literature can often be seen as metaphors for the fears incarnate of a society.

Scholarship And Criticism

In addition to those essays and articles shown above, scholarship on horror fiction is almost as old as horror fiction itself.  In 1826, the gothic novelist Ann Radcliffe published an essay distinguishing two elements of horror fiction, terror and horror.  Whereas terror is a feeling of dread that takes place before an event happens, horror is a feeling of revulsion or disgust after an event has happened.  Radcliffe describes terror as that which expands the soul and awakens the faculties to a high degree of life, whereas horror is described as that which freezes and nearly annihilates them.

Modern scholarship on horror fiction draws upon a range of sources.  In their historical studies of the gothic novel, both Devandra Varma and S.L. Varnado make reference to the theologian Rudolf Otto, whose concept of the numinous was originally used to describe religious experience.

Awards And Associations

Achievements in horror fiction are recognised by numerous awards.  The Horror Writers Association presents the Bram Stoker Awards for Superior Achievement, named in honour of Bram Stoker, author of the seminal horror novel Dracula.  The Australian Horror Writers Association presents the annual Australian Shadows Awards.  The International Horror Guild Award was presented annually to works of horror and dark fantasy from 1995 to 2008.  The Shirley Jackson Awards are literary awards for outstanding achievement in the literature of psychological suspense, horror, and dark fantastic works.  Other important awards for horror literature are included as subcategories within general awards for fantasy and science fiction in such awards as the Aurealis Award.

Alternative Terms

Some writers of fiction normally classified as horror tend to dislike the term, considering it too lurid.  They instead use the terms dark fantasy or Gothic fantasy for supernatural horror, or psychological thriller for non-supernatural horror.

Horror Films Since The 1890’s

For more Horror film lists click here.

Read more about Horror and notes etc. regarding the above post here.

The above articles and the rest of the images on this page were sourced from Wikipedia and are subject to change.

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