Abraham "Bram" Stoker (November 8, 1847 – April 20, 1912) was an Irish novelist and short story writer, best known today for his 1897 Gothic novel Dracula. During his lifetime, he was better known as personal assistant of actor Henry Irving and business manager of the Lyceum Theatre in London, which Irving owned.

Dead West (AKA Cowboys and Vampires) (director: Douglas Myers)

Dead West

Jasen Wade
Angélica Celaya
Shannon Whirry

A western movie actor is trying to make it big in a western film studio and theme park, when a 'new management team' takes over the park and turns the film studio into a fright-fest for the month of Halloween.

Jeremy Stewart: Hidden city

Jeremy Stewart

Neighbours had under their house an ossuary
blamed it for evil emanating for a block
inverted saints manifested
supernatural reek
they told me it was there when they moved in
I planned to buy the bones     to remove them
but when I went inside they got         to me
now barking dogs are invited to my party
they’re the only ones
neighbours took their loud bass
& fell into a ravine
let them be added
to the number of the numberless
remains to be seen
what will be left when they’re gone
large enclosures armed with woofers speak
to me, it’s a numbers racket
I can’t read you anymore because
there isn’t any more now go to sleep
dust & sand in my mouth & muffled
sounds above, so be low

the disaster already
happened, & it made
a lousy movie. A pack of wolves against the orange horizon
watch the lousy movie. Daylight’s yolk
about to crack. Smoking
year-end best-of lists
of lists of lists burn in muted
television light             watching
the fireplace show, the log, every
so often a hand
or day of infinite justice          the chamber
of commerce should welcome erasure

searching out blind spots
          I created Nosferatu’s mirror

saw a tangle of black dogs & hair run after
unspooling tape

 & I felt like nothing so much

wounded absence of a line
while the house falls in
violet repeat offender
song of the violent repeat offender

can’t get nothing right
don’t you motherfuckers ever fuck with me
don’t fuck with my family
can’t get nothing right

watching TV puppet shows as a kid
gravel parking lot skid
I was a poet with no M.O.
never seen a poem before

bang this empty skull
about to fly away on the shop wing
no one’s gonna try to reach out to me
bang this empty skull

 honest work for honest pay
oh, you say you already heard that one?
I was a victim until I rewrote the scene
now it’s cops try to victimize me

I will buy one smoke off you for fifty cents
six weeks of compulsory anger management counselling
all the places I won’t get to go
with my hand smashed in the car door

yeah, you think you can fuck with me?
steal my bike & step on my hand?
suffocating in the space between
two burning buildings
mirror the hip sounds
of Bloody Holly

I quit the band, too
but somehow survived
traded interior deserts
for coastal deserts before falling
asleep at the bottom of a lake
where I could hardly hear the phone.

You asked for a complete account
of myself & that’s it
anything further will be in my RCMP file
along with urine, hair, teeth

Lewis Call: "Sounds Like Kinky Business to Me": Subtextual and Textual Representations of Erotic Power in the Buffyverse

Slayage: The Online International Journal of Buffy Studies, 6(4)

[1] Buffy the Vampire Slayer and Angel have done a great deal to promote tolerance of alternative sexualities. The two programs are especially well known for their positive depictions of gay and lesbian sexuality. However, Buffy and Angel have also brought about another intriguing revolution in the representation of unorthodox sexual practices. Throughout the twelve seasons which comprise the Buffyverse narrative, Buffy and Angel have consistently provided positive portrayals of sadomasochism (S/M) and erotic power exchange. In the early seasons these representations were, of necessity, largely subtextual. As the two shows progressed, however, they began to provide bolder, more explicit depictions of S/M. Thus the Buffyverse's discourse of erotic power gradually moved out of the subtextual and into the realm of the textual. As representations of erotic power exchange became more open and explicit at the textual level, these representations became increasingly available to the Buffyverse's audience. In the later seasons of Buffy and Angel, the two programs did not merely depict S/M, but actually presented it as an ethical, egalitarian way in which participants might negotiate the power relations which are an inevitable part of their lives. Buffy and Angel brought S/M out of the closet and normalized it. The two programs thus offered their audiences a positive and practical model of erotic power exchange. The Buffyverse has already secured for itself a prominent place in the history of narrative television. By endorsing the ethical exchange of erotic power, Buffy and Angel may earn an important place in the history of sexuality as well.
[2] Few television shows are as fascinated with their own subtexts as Buffy and Angel. Both shows feature a frequently flagrant disregard for their own master narratives. "Storyteller" (B7016), for example, emphasizes the perspective of a character who would be considered minor on most programs, geeky reformed "super villain" Andrew. "The Girl in Question" (A5020) sends Angel and Spike to Italy, ostensibly on a quest for Buffy, but quite obviously for the real purpose of permitting the homoerotic relationship between the two male vampires to eclipse their mutual obsession with Buffy (who, like a proper fetish object, is much discussed but does not appear in the episode). Both shows also have a deep and abiding interest in saying those things which cannot be said with words. Thus in "Hush" (B4010), the characters must find ways to express themselves in the absence of spoken language, while in "Once More, with Feeling" (B6007), they can express their deepest feelings—but only in song. Series creator Joss Whedon seems determined to make use of every possible form of non-linguistic communication including, remarkably, ballet (see "Waiting in the Wings," A3013). Since spoken dialogue is the main form of textuality in narrative television, the effect of these experiments is to foreground such normally subtextual elements as gesture, facial expression, color, editing cuts and (of course!) music and choreography. (But then, Giles warned us way back in Season Two that the subtext is rapidly becoming the text, “Ted,” B2011.)



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