Viaje al Horror by Ralph Barby.
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This book is not yet featured on Listopia. Oct 22, Gema Moratalla rated it liked it. Jul 25, Marsten rated it liked it Recommends it for: La historia por un lado es original pero a la vez se sirve de esos arquetipos que tanto me gustan: El hecho que el estilo del Sr. In my last blog post , I intimated that in the case of countries like Italy, which have had a strong and committed relationship with the horror genre, critics have favoured an approach that sees the gothic as one more strand within a number of wider horror trends.
Viaje al Horror by Ralph Barby (4 star ratings)
This gothic subgenre tends to be distinguished through its use of imagery old, onerous, decrepit castles or mansions , tropes innocent people being wronged or murdered, dark and licentious secrets, family curses and characters damsels in distress, tyrannical patriarchal figures, revenants. My argument is that the reason why a film such as Who Can Kill a Child? Although perhaps less traditional in its visual or imaginary cues, the concerns and, most importantly, the feelings of suspense, horror and cloying claustrophobia, are manifest in it.
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My other area of interest throughout this post — largely an introduction to Spanish horror — also develops from an idea I have touched upon but have not quite yet developed: Often set to compete in a market saturated with Anglo-American products, a large number of films produced by Spanish directors have sought to look, sound and feel international, to the point that, as Andy Willis mentioned in a recent talk, it is sometimes impossible for viewers who are not familiar with the material or the actors to determine its country of precedence. This means that many of these horror films are independent, low-budget and sometimes make extensive use of gratuitous nudity or soft-core sex.
As happens with a lot of Italian horror of the time, films would be dubbed both in Spanish and English and would include recognisable and international monsters such as vampires, zombies or werewolves.
As a cinema that has kept an eye open for easy cash-ins, it has been quick to imitate and adapt. The former is an excellent example of a Spanish product attempting to recreate a British one: In this piece, a Quosimodo-like character lives in a basement, where he looks after the only person who cares for him: His frustration with the human race eventually tangles up with the ambitions of a doctor who is making a monster out of body parts from the nearby graveyard and live victims.
By far the most developed and sustained example of a Spanish horror figure is that of the vampire.
Adaptations of Dracula and Carmilla , as well as continuations of either myth through their progeny or alternative vampire families abound: In some, the eponymous count is invoked by name only, and is ultimately perfunctory to the action. Other films offered less tried-and-tested formulas: Another strand of vampire films, and one that has proved long-lasting, is that of the comedy-horror.
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Vampire parody, Spanish style: I would not want to suggest that Spanish horror is derivational, or that it has always used imported myths as the base for the stories it tells. Instead, it has often taken inspiration from abroad to develop a number of intrinsic or locally inflected gothic monsters and villains. Set in France to avoid censorship, this Spanish—French venture featured the recurring blind henchman Morpho.
The second group of these regional monsters reflects on the relation between Spain and its religious history through a myth that is partly based on a Breton legend: Best remembered for the skeletal presence of its titular monsters and some creepy slow-motion horse-riding scenes, these films take place in Spain although scenes were sometimes recorded in Portugal and specifically develop a myth that would expand through three sequels.
Viaje al Horror
Instead, the Blind Dead haunt landscapes that evoke a Spanish sense of place and identity. Horror in slow motion: This local history would be later recuperated in the more cinematic Romasanta: These films show that Spain has attempted to develop a gothic horror tradition that would be endemically Iberian yet simultaneously appeal to an international market. Deep in the rural English countryside, two tempting daughters of Erebus, the woeful wraith-like phantoms Fran and Miriam, prey on the innocent and the foolishly brave to tread alone. They all share the following interests: All four of them fall in and out of love, An inspector hunts down Nobel Prize-winning Chilean poet, Pablo Neruda, who becomes a fugitive in his home country in the late s for joining the Communist Party.
A lesbian vampire couple waylay and abduct various passer-byes, both male and female, to hold them captive at their rural manor in the English countryside in order to kill and feed on them to satisfy their insatiable thirst for blood. Montse's agoraphobia keeps her locked in a sinister apartment in Madrid and her only link to reality is the little sister she lost her youth raising.
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