Think me not cruel because I obey the irresistible law of my strength and weakness if your dear heart is wounded, my wild heart bleeds with yours. Over the next three days, join us as we studiously trace the genealogy of the Karnstein family. Based with incrementally increasing artistic license on Sheridan Le Fanu’s highly influential 1872 novella, Carmilla, the films of the trilogy - The Vampire Lovers, Lust for a Vampire, and Twins of Evil - represent the libidinous core of the lesbian vampire subgenre, scripted by Danger: Diabolik and Barbarella contributor (and, later, important trade-unionist) Tudor Gates and boasting a seemingly interminable lineage of blood-thirsty, polyamorous nymphs. The series of loosely associated films known as the Karnstein Trilogy represents Hammer Films’ strident foray into the domain of the lesbian vampire, a subgenre-defining moment that launched the company from an increasingly musty set of genre franchises into one of the defining producers of exploitation cinema of the 1970s.
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