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The most powerful member of Savannah's vampire community, William Cuyler Thorne, launches a personal quest for vengeance when he discovers that his wife and son, whom he had believed dead, have been transformed into the undead and are members of a malicious clan of European bloodsuckers that have abducted the young daughter of his voodoo priestess friend.
Cara Stivers hasn't had a date in almost a year, so when her friend offers to fix her up with two different boys, she readily agrees to meet them. But one of the boys, Nate Summers, is the same boy who haunts her in her dreams. Except in her dreams, he's a vampire and he's dangerous. When the murders begin, she knows that Nate is behind them, and she finds out that he is going to kill her next. In a race against time, she has to find out who he really is, why he wants to kill her and how to stop him before it's too late.
Sometimes one kiss is all you need. KIMBERLY I’ve been hunting vampires my entire life. It’s what I do, what I’m good at, and what I live for. There’s just one vampire I’ve never been able to get my hands on, but I want to. The Vampire of Garnetia is a ruthless bastard who killed my friends, and I’ll stop at nothing to find him. LIAM Usually, having a human chasing after me would be a fun game of cat and mouse, but with Kimberly, it’s different. I can’t read her mind, and I struggle to track her. There’s something different about her, and I think she just might be my fated mate. There’s just one problem: she’s a hunter and I’m… Well, I’m a Vampire Lord. What could possibly go wrong? Vampire Kiss is a steamy paranormal romance with a guaranteed HEA.
"A master at scaring people, reclusive horror author David Matthewson meets his match in Monique, a vampire with a deadly thirst for blood who is also David's number one fan." --Goodreads.com.
Give in to the darkest desires...
An NPR "Books We Love" 2022 “Age of Cage might be the closest we will get to understanding the singular beauty of each of Nic Cage’s always electric performances. You are holding the Rosetta Stone for Cage. Enjoy it.” —Paul Scheer, actor, writer and host of the How Did This Get Made? and Unspooled podcasts Icon. Celebrity. Artist. Madman. Genius. Nicolas Cage is many things, but love him, or laugh at him, there's no denying two things: you’ve seen one of his many films, and you certainly know his name. But who is he, really, and why has his career endured for over forty years, with more than a hundred films, and birthed a million memes? Age of Cage is a smart, beguiling book about the films of Nicolas Cage and the actor himself, as well as a sharp-eyed examination of the changes that have taken place in Hollywood over the course of his career. Critic and journalist Keith Phipps draws a portrait of the enigmatic icon by looking at—what else?—Cage’s expansive filmography. As Phipps delights in charting Cage’s films, Age of Cage also chronicles the transformation of film, as Cage’s journey takes him through the world of 1980s comedies (Valley Girl, Peggy Sue Got Married, Moonstruck), to the indie films and blockbuster juggernauts of the 1990s (Wild at Heart, Leaving Las Vegas, Face/Off, Con Air), through the wild and unpredictable video-on-demand world of today. Sweeping in scope and intimate in its profile of a fiercely passionate artist, Age of Cage is, like the man himself, surprising, insightful, funny, and one of a kind. So, snap out of it, and enjoy this appreciation of Nicolas Cage, national treasure.
The first editon was called “the most valuable film reference in several years” by Library Journal. The new edition published in hardcover in 2001 includes more than 670 entries. The current work is a paperback reprint of that edition. Each entry contains a mini-essay that defines the topic, followed by a chronological list of representative films. From the Abominable Snowman to Zorro, this encyclopedia provides film scholars and fans with an easy-to-use reference for researching film themes or tracking down obscure movies on subjects such as suspended animation, viral epidemics, robots, submarines, reincarnation, ventriloquists and the Olympics (“Excellent” said Cult Movies). The volume also contains an extensive list of film characters and series, including B-movie detectives, Western heroes, made-for-television film series, and foreign film heroes and villains.
While vampire stories have been part of popular culture since the beginning of the nineteenth century, it has been in recent decades that they have become a central part of American culture. Vampire Legends in Contemporary American Culture looks at how vampire stories—from Bram Stoker's Dracula to Blacula, from Bela Lugosi's films to Love at First Bite—have become part of our ongoing debate about what it means to be human. William Patrick Day looks at how writers and filmmakers as diverse as Anne Rice and Andy Warhol present the vampire as an archetype of human identity, as well as how many post-modern vampire stories reflect our fear and attraction to stories of addiction and violence. He argues that contemporary stories use the character of Dracula to explore modern values, and that stories of vampire slayers, such as the popular television series Buffy the Vampire Slayer, integrate current feminist ideas and the image of the Vietnam veteran into a new heroic version of the vampire story.
New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer – films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire,
Chloe discovers that suppressing her necromancy abilities is causing havoc with the local earthbound ghosts. When Death tries to kill her, on top of her falling for master vampire Killion, her world goes grim robes over applecart. Is she in too deep, or can she bring the ghosts, Death, and Killion to heel? A humorous paranormal urban fantasy series with a slow burn vampire romance! For fans of Sookie Stackhouse, The Vampire Diaries, and Buffy The Vampire Slayer. ★★★★★ “…engaging, funny and adventurous, I loved it.” ~ Goodreads review All I wanted was a kiss… Chasing grave robbers on New Year’s Eve isn’t exactly a dream come true. I’d much rather be at a swanky party kissing a certain—ahem—master vampire at the stroke of midnight. Since I’m on probation for violating more than a few grim codes of conduct, however, Death has me shivering with a bunch of corpses, instead. The dead call to me, wanting to be raised for a party of their own. When I see a premonition about a friend’s unexpected demise, I discover it could be my fault—my necromancy abilities are trapping ghosts and causing all sorts of odd events, including giving me hallucinations. It’s no hallucination, however, when my boss plants the Kiss of Death on me. Happy New Year! Can I save myself, my friends, and the trapped ghosts? Or am I in too reap? One-click now to enjoy this supernatural world of vampires, grim reapers, witches, shifters, and Death. Yep, Death with a capital D. ;-)
The Best New Horror has established itself as the world's premier annual, showcasing the talents of the very best writers working in the horror and dark fantasy field today. In this latest volume, the multi-award winning editor has chosen razor-sharp stories of suspense and disturbing tales of terror by writers on the cutting edge of the genre. Along with a comprehensive review of the year and a fascinating necrology, this is the book no horror fan can afford to miss.
Tim Burton has been a major director for a quarter of a century, producing both cult classics and blockbuster films including Edward Scissorhands, Beetlejuice, Ed Wood, Batman, Mars Attacks!, Sweeney Todd, Alice in Wonderland, and Dark Shadows. An A-Z list of all things Burton, including his live action films, his animated features, his shorts, his non-film work, and the collaborators who have helped manifest his unique perspective into memorable works of cinema. The book will highlight Burton’s accomplishments as a visual artist with an uncompromised aesthetic, narrating the evolution of his creative practice from his earliest childhood drawings through his mature works.
In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.
Since San Francisco's origins as a Gold Rush town, vampires have secretly owned a world-wide chain of casinos. Come the first nightfall of winter, the Gaming Guild will hold the 25th Dark World Gambling Games. Dirk DeVault is obsessed with winning and returning the guild to its former glory.
This “vigorous, witty look at the undead as cultural icons in 19th- and 20th-century England and America” examines the many meanings of the vampire myth (Kirkus Reviews). From Byron’s Lord Ruthven to Anne Rice’s Lestat to the black bisexual heroine of Jewelle Gomez’s The Gilda Stories, vampires have taken many forms, capturing and recapturing our imaginations for centuries. In Our Vampires, Ourselves, Nina Auerbach explores the rich history of this literary and cultural phenomenon to illuminate how every age embraces the vampire it needs—and gets the vampire it deserves. Working with a wide range of texts, as well as movies and television, Auerbach follows the evolution of the vampire from 19th century England to 20th century America. Using the mercurial figure as a lens for viewing the last two hundred years of Anglo-American cultural history, “this seductive work offers profound insights into many of the urgent concerns of our time” (Wendy Doniger, The Nation).
This comprehensive bibliography covers writings about vampires and related creatures from the 19th century to the present. More than 6,000 entries document the vampire’s penetration of Western culture, from scholarly discourse, to popular culture, politics and cook books. Sections by topic list works covering various aspects, including general sources, folklore and history, vampires in literature, music and art, metaphorical vampires and the contemporary vampire community. Vampires from film and television—from Bela Lugosi’s Dracula to Buffy the Vampire Slayer, True Blood and the Twilight Saga—are well represented.
