Sinners (R: 2025): Dark Southern Gothic Horror

Unsure of why I was on the fence about seeing this spectacular marvel of southern horror lore and mythology … I’m so glad my AMC A-List pass lured me to see it, one of my current favorite at the cinema titles. It has its flaws, but otherwise spectacularly done. Rating: 4.5 stars out of 5*, Oisin Rhymour, Techno Tink Media: www.technotink.com/design/*

Midnight fog drapes the Mississippi Delta, thick with secrets and shadows. In Ryan Coogler’s ‘Sinners,’ the land itself feels haunted; cotton fields blanch under moonlight, echoing with sorrow and threat. Set in 1932, this horror epic stitches together the nightmares of the past with stories too real to quiet.

Coogler weaves horror and history into every dusty crossroads and winding river, forcing us to confront the darkness that lingers behind southern hospitality. Expect a film that wraps Southern Gothic chills around questions of guilt, family, and hope, while characters search for light in endless night. Movie lovers who crave atmosphere, history, and meaning won’t want to miss this haunting journey. Those who love cult classics like Rocky Horror may also appreciate how stories of place, time, and fear overlap in cinema history.

Story and Setting

The world of ‘Sinners’ swells with heat, dust, and memory, rooted deep in the haunted soil of 1932 Mississippi. Every shot breathes with the weight of history: rows of white cotton shimmer under a bruised sky, and every shadow hints at stories buried beneath. Both the place and its past aren’t just backgrounds, they press on every moment of the film, shaping its night of terror and reckoning. Through the eyes of twin brothers Smoke and Stack, homecoming turns into a collision of hope, guilt, and memory in a single, tense night where past and present bite at the same heels. At first I thought it was a spin-off from the Devil and the Fiddler at the crossroads, but wrong was I … as it weaved Irish folklore in with African American slavery mythos with a twist of True Blood.

A Southern Gothic Canvas: Cotton Fields, Dust-Choked Streets, and Vivid Imagery

‘Sinners’ paints the Jim Crow South with all the weight of lived experience. Rows of cotton stretch far beyond the eye, each plant seemingly thirsty for rain or redemption. The land itself becomes a silent character, heavy with the grief of generations. Dust creeps through open windows, curling around characters’ ankles like regret that can’t be swept away.

  • Cotton fields and dirt roads serve as living reminders of both suffering and survival.
  • Night falls heavy, and moonlight glances off shotgun shacks and silent porches.
  • Small-town streets appear frozen in time, defined by segregation yet filled with the everyday hopes of those who live there.

Ryan Coogler’s camera lingers on these details, letting them settle in the viewer’s memory. The streets of Clarksdale and the Delta are so present, you can almost feel the humidity and taste the blues in the air. The movie’s use of historical setting deepens every emotional note, merging Southern Gothic visuals with horror’s classic tension. The choice to set the story in 1932 Clarksdale reflects real historical trauma—the history behind the film is just as rich as what’s on screen.

Smoke and Stack: Dualities of Brotherhood

At the heart of ‘Sinners’ are brothers Smoke and Stack, played with stunning range by Michael B. Jordan. Their return home is supposed to be a reunion, but it quickly becomes a reckoning.

  • Smoke is quiet, all tight shoulders and inward glances. He carries the burden of memory and responsibility, haunted by ghosts only he seems to see.
  • Stack radiates energy, quick to defend, laugh, and fight for what’s right. He seeks hope in forward motion, unafraid to ask hard questions.

This push-and-pull brings heat to every scene. Their bond; tested by both family secrets and the horror at their door, anchors the movie’s single-night timeline. Jordan brings out each brother’s pain and love: Smoke holds the past close, while Stack fights for the promise of tomorrow.

Their story becomes a lens through which the movie explores themes bigger than blood:

  • Guilt versus forgiveness
  • The weight of legacy
  • Sacrifice and moral courage

If you’re a fan of complex sibling stories and tense family dynamics, this film sits comfortably alongside atmospheric horror classics like those found in our psychological thriller collection. The night these brothers face becomes a tightrope walk; past and present, love and fear, all currency in the film’s dangerous game.

To explore how ‘Sinners’ draws on the folklore, music, and vampire lore of Mississippi, you may want to check out this thoughtful breakdown of the movie’s cultural undercurrents.

Horror, Vampires, and Symbolism

Haunted fields and moonlit crossroads set the stage for terror in ‘Sinners,’ but the film’s monsters offer more than jump scares. Ryan Coogler uses vampires to unpack deep wounds; turning supernatural hunger into a living metaphor for exploitation and disconnection. Each scene with Remmick and his twisted followers blurs the line between myth and painful reality, pulling viewers into a chilling story with real roots.

The Monsters Among Us: Remmick, His Cult, and a New Vampire Mythos


Remmick is no velvet-caped stranger; he’s an Irish vampire who walks hidden roads and rules his followers with quiet menace. Coogler strips away much of the old vampire style and instead paints Remmick in sweat and dirt, embedding him right into the Delta’s pain. His cult moves through Black communities, preying quietlyal; most businesslike, on those caught at the rough edge of society.

Remmick and his group don’t just feed on blood. They seek out the gifted and the hopeful. The vampires steal more than life; they consume memories, skills, and the very essence that makes their victims who they are. The power is chilling: when the vampires strike, the town loses more than a body. It loses music, invention, and tradition. These scenes are hard to watch, yet strikingly honest about the cost of being haunted and hunted.

Coogler’s take stands apart from most bloodsucker tales by rooting his monsters in the realities of oppression. The cult’s attacks feel surgical, a cold machine set on draining life from communities that history has already bled dry. If classic films like ‘Blade’ or even rock horror icons flirted with genre tropes, ‘Sinners’ plants both feet in a world where the threat is real, close, and unglamorous. The atmosphere is soaked in dread, with myth and history never far apart. To dig deeper into the cultural meanings behind Remmick’s character, check out this insightful take on the Irish vampire’s symbolism.

What the Vampires Represent: Hunger, Exploitation, and Ancestral Loss

Coogler uses vampires to stand in for oppressive forces; systems and people that thrive by draining others. The hunger these monsters show isn’t just for blood. Each attack tears families apart, leaving behind an emptier world. The film makes the vampires’ feeding a layered crime: it isn’t just life that’s lost, but memory, skill, and hope passed down through generations.

Remmick’s hunger reflects the deep costs of exploitation:

  • Stealing legacies: Every victim loses not just their life, but the gifts their ancestors struggled to preserve.
  • Erasing history: With each feeding, the community grows weaker, as if old wounds are cut open all over again.
  • Dividing the living: Fear turns neighbor against neighbor, fueling cycles of silence and grief.

This symbolism is powerful because it’s grounded in truth. The vampires in ‘Sinners’ are more than movie villains; they’re echoes of all the ways Black communities have faced theft, violence, and the loss of culture. By binding horror with these realities, the film calls out exploitation both past and present. For more perspective on how vampires have stood in for real-world power struggles and violence, see this thoughtful review on Black vampires in contemporary film.

Coogler’s approach ties in with other films that use horror to ask what happens when knowledge, craft, and roots are stolen from a people. If you’re interested in similar themes, you might explore movies that play with Gothic and symbolic motifs to critique cultural loss and violence.

The message runs through every haunting image: when monsters feed on memory and skill, entire histories are at risk, not just single lives.

Music, Ancestry, and Cultural Roots

Blues beats in every corner of ‘Sinners’. Ryan Coogler stitches the film together with songs of heartache, hope, and struggle; turning music into both a weapon and a shield. This section digs into how blues, spiritual traditions, and memory breathe life into the story’s haunted Mississippi, connecting the characters to each other and to a history both painful and proud.

Blues as Salvation and Danger: Highlight the links between legends like Robert Johnson, the story’s character Sammie Moore, and music’s role in the fight for liberation and identity.

Music cuts through the darkness in ‘Sinners’ just as it did for Robert Johnson at the crossroads. Sammie Moore, the film’s bluesman, draws on the same haunted genius, fingers flying across strings, voice cracking with every note of sorrow and resilience. The legend of Johnson selling his soul to play the blues finds eerie echoes as Sammie faces supernatural threats, questioning what he might give up to survive.

In ‘Sinners’, the blues isn’t just background music. It’s a living force.

  • Song becomes shield; Moore’s music holds the vampires at bay and strengthens the community.
  • Lyrics as protest; each verse carries whispers of rebellion against the systems that choke the Delta.
  • Sound as memory; his guitar riffs stitch family stories, holding lost ancestors close.

Fans of cinema history will catch nods to film classics where music stands at the edge of danger and deliverance. The soundtrack of ‘Sinners’ is a direct response to the way Black musicians have shaped the sound, and power, of American film. For a snapshot of this heritage, explore how Black music shapes the silver screen and why blues, soul, and jazz always matter when watching stories like this one.

Sammie’s story is more than a tribute; it’s a call for liberation. Every guitar solo, every raw, trembling verse, becomes a stand against horror; both real and supernatural. In the world of ‘Sinners’, the fight for identity isn’t just physical. It’s played out in every note bent toward freedom, echoing through the fields at midnight.

Ancestral Bonds and Cultural Memory: Explore how the narrative uses spiritual reverence, memory, and the supernatural to enrich the film’s emotional core and cultural commentary.

‘Sinners’ doesn’t hide from the ghosts of the past; it listens to them. Through rituals, lullabies, and whispered prayers, the characters keep ancestral bonds strong; even as supernatural forces threaten to tear those ties apart. Spiritual memory, seen in the way family stories pass from eldest to youngest, becomes the heart of resistance.

Coogler’s film draws on real Southern traditions:

  • Altars of remembrance sitting quietly in church corners and living rooms.
  • Dreams and visions: characters receive signs; sometimes warnings, from ancestors.
  • Music as invocation: songs become prayers, bridging the distance between the living and the dead.

This rich layering of spirit and memory gives ‘Sinners’ its pulse. It’s not just about vampires or cotton fields. It’s about remembering who you are, who your people were, and how culture endures; even in the darkest times.

Other Southern tales lean into the mystical, too. For readers interested in pop culture’s take on Southern phenomenon, The Commodore 64 and Rocky Horror story offers a fascinating example where memory, nostalgia, and genre collide.

The supernatural isn’t a gimmick in ‘Sinners’. It’s a way for the community to process trauma, to find hope, and to hold tight to sacred truths. The film sits beside others that use horror for spiritual reflection; whether it’s through haunting, resurrection, or music that beckons the old world back. Those interested in exploring more films where spiritual themes shape stories can check recommendations for modern movies with spiritual or supernatural tone.

This dance of song and story roots ‘Sinners’ deep in Southern soil. It’s what makes the film linger; like the sound of a distant guitar, promising that memory and hope can outlast any monster. For more on how Southern stories weave memory, myth, and culture, you’ll find kindred spirits in reviews of films with deep Southern and supernatural roots like those in our Gothic movies archive.

Style, Tension, and Performances

Ryan Coogler wraps every scene of ‘Sinners’ in mood so strong you almost taste the dust and dread. Here, style bleeds straight into story. Visuals haunt you long after the credits roll, and the quiet tension hums beneath each line. With the cast giving all heart, Coogler’s slow-burn suspense and poetry in motion transform a night of terror into a study of grit and humanity. Let’s explore how these choices shape the film’s impact and immerse you inside this gothic nightmare.

Cinematography and Mood: Haunting Visual Language


The camera in ‘Sinners’ does more than frame cotton fields and moonlit porches; it steals your breath and pins you to the earth. Every shot lingers on the stretch of sultry trees, letting moonlight slice through branches and drape silver across the Delta’s raw history. It’s a world painted in stark contrast: shotgun shacks lost in shadows, sweat-sheened faces flickering in lamplight, tension pooling in silent glances.

Coogler’s direction sneaks fear into the corners of each scene:

  • Long takes hold us in place, stretching out suspense like the humid nights. The pressure grows with every heartbeat.
  • Shadow and color become silent characters. Blues and bruised purples cloak tragedy and hope side by side, while dirty whites of the cotton fields snap against the darkness.
  • Low, wide angles make figures look haunted, swallowed up by the land that remembers everything.

It’s not just beautiful; these choices unsettle. You feel the characters’ isolation in every empty dirt road, every ghost-light corridor. These visual strategies go hand-in-hand with the best horror traditions. For a deeper dive into how horror films use lighting, camera work, and color to spark emotion, check out this guide to the basics of horror cinematography.

The film’s rhythmic pacing; slowing for dread, racing for panic, pulls the audience deeper under its spell. Coogler builds an atmosphere that isn’t just seen but sensed. The effect is poetic, immersive, and deeply Southern. For movie-goers hungry for that blend of mood and meaning, ‘Sinners’ is a rare treat. If you’re into visually evocative horror, explore more genre standouts in this collection of psychological thriller movies.

Heart and Grit: The Cast

The soul of ‘Sinners’ comes into focus through its actors. Michael B. Jordan leads with a dual performance as Smoke and Stack, slipping between vulnerability and strength with ease. Every wince, every silent stare, feels honest. The weight of family history seems to etch itself right onto his shoulders. Audiences familiar with his work in intense dramas will notice the same emotional charge; only now, it’s sharpened by the threat of monsters in the night.

But he’s never alone. The supporting cast stands shoulder-to-shoulder, adding grit and warmth:

  • Supporting roles; from the quiet resolve of elders to the unsteady courage of younger townsfolk, bring the community to life. You sense real history between them.
  • On screen, chemistry sizzles. Tensions break into raw argument, tenderness, or desperate laughter; raising the stakes for every choice made in the film.
  • Even the smallest role feels lived-in, shaped by the place and its sorrow.

Long pauses in dialogue, quick flashes of anger or fear; these choices are as important as any special effect. Coogler coaches every actor to fill space with meaning. The result: relationships that feel worn and real, amplifying the peril when monsters draw near.

Jordan’s partnership with Coogler grows stronger here, building on what they started in past films. This collaboration roots each scene in something permanent and human. To learn more about their creative bond and behind-the-scenes dynamic, take a look at this insightful spotlight on Coogler and Jordan’s evolving partnership.

Through their work, ‘Sinners’ never loses sight of what’s at stake; not just life or death, but the heart of a family and the survival of memory. The performances are a reminder that even in horror, grit and love can be the film’s sharpest weapons.

Legacy and Final Thoughts

‘Sinners’ punches through the noise of modern horror with a vision rooted deep in American soil. Ryan Coogler swings wide; aiming to rewrite vampire myth and tie it to the pain, pride, and music of the Black South. Long after the final frame, the film leaves a chill that’s more than fear; it’s memory and hunger echoing side by side.

Ambitions and Lasting Impact


‘Sinners’ dreams big. Coogler flips the classic vampire story on its head, turning monsters into metaphors that stick with you long after you leave the theater. Instead of simple scares, this film invites us to reckon with the shadows of real history and ask what’s passed down; both the wounds and the strength.

Here’s what stands out about this film’s reach and influence:

  • It sets a new path for Southern Gothic horror; mixing ancestral pain, family ties, and supernatural threat in a way few directors have risked before.
  • Its myth-building puts it alongside modern prestige horror, where meaning grows out of dread. The world of ‘Sinners’ feels lived-in, haunted by both fact and legend.
  • Ambitions are high: this is a story that wants to matter, not just entertain.

Other filmmakers have settled into the safe grooves of spooky cinema; Coogler presses out into rough country. ‘Sinners’ joins films that leave deep imprints—where viewers return not for the frights, but for the questions and images burned in their minds. For readers who enjoy films that fuse myth and memory, revisiting gothic movies that challenge genre boundaries can help draw out these connections.

Modern Reception and Genre Standing

Reviews for ‘Sinners’ point to its bold moves and rich atmosphere. Critics at outlets such as Vulture call the film both “bold” and “distinct,” noting how it brings out the voice of the Black South while also holding back some classic horror punch. Not everyone finds the scares as sharp as the symbolism, but that’s almost beside the point. The film is discussed not just as a horror flick, but as a cultural moment.

Movie buffs and everyday fans on Reddit’s discussion threads praise the motion picture’s ambition, with many saying it hits a sweet spot between thriller and historical drama. Threads buzz with debate over what sticks out most; the eerie mood, the music, or the slow, patient storytelling.

The film’s biggest legacy may lie with genre fans hungry for art that cuts deeper than formula. ‘Sinners’ stands beside modern horror stories that challenge what the genre can achieve, touching the spirit as much as the nerves. Readers interested in atmospheric Southern tales mixed with spooky and smart storytelling will find plenty more inspiration in psychological thriller movies with similar moods.

Where ‘Sinners’ Stands in Modern Horror

Coogler’s film won’t please everyone. Some horror lovers will crave more blood and less heartache. But for those who want fear rooted in something real; where every shiver means something, ‘Sinners’ is a film that sets its own rules. It calls to those who see horror as a lens for truth, not just a source of frights.

The movie stands as a bold torch-bearer for smart, soulful horror. By fusing history, myth, and music, it leaves footprints other directors may one day follow. The story lingers, much like the pulse of blues guitar drifting across a midnight field, daring anyone who listens to remember what was lost; and what can still be found.

Reviewed

‘Sinners’ stands out as a bold blend of horror and history, binding the haunted soil of Mississippi with stories that refuse to be forgotten. Ryan Coogler uses fear not as an escape, but as a lens on memory, culture, and loss. Each frame pulses with lived experience; guilt, music, and hope woven tightly together.

For movie lovers who crave atmosphere and weight, ‘Sinners’ offers more than scares. It’s a reminder that horror, at its best, shines a light on what matters most; roots, resistance, and the hunger to remember. Films that echo this style and ambition often appear in collections exploring gothic storytelling and cultural myth, rewarding fans who chase meaning as much as mystery. I’d give this a full 5 stars, but the only irritant in the film is the adding in of scenes and characters from the future, busting the timeline and era the film portrays. ~ 4.5 stars out of 5, Oisin Rhymour, Techno Tink Media – www.technotink.com/design/

Thank you for joining this journey through shadow and song. If you felt the chill and the call for deeper stories, share your thoughts; and keep an eye out for more films that haunt and heal in equal measure.

 


02.27.2015 — 09:11 am
Here’s something you don’t hear every day: Mark Andrews, 51, of Atascadero, CA, who believes he’s a werewolf allegedly shot his neighbor Colleen Barga-Milbury, 52, twice because he was convinced that she was a vampire.
Defense witness Carolyn Murphy, a forensic psychologist said, “(He believes) he transforms into a werewolf,” and “holds the spirit of the wolf.”

The first record of Andrews believing he was a werewolf, she said, dates to 1996, though she suspects he had that same delusion during his first psychotic episode three years earlier.
Murphy said Andrews believed the voice of God commanded him to kill Barga-Milbury, whom he believed was a vampire.

In 2009 Andrew became convinced that another one of his neighbors was a vampire:

Andrews believed a different neighbor was a vampire. Andrews left mounds of dirt and flour on that neighbor’s door and once pounded on the neighbor’s door, calling her a “bitch,” though she didn’t answer.
At his home, according to police reports, police found two lists of names, several marked “hate with death.”

As to why Andrews didn’t kill this particular vampire neighbor “God didn’t tell him to kill her” Murphy said.
Mark Andrews has believed himself to be a werewolf for the past 20 years. During the time of the murder, Andrews was apparently not taking his medication.
Via Tribune News Death and Taxes

 


The Loch Ness Monster, Zombies, and the Law

Comments Off on The Loch Ness Monster, Zombies, and the Law | Loch Ness Monster, Media, News, Tales, Vampires, Zombies Tags:, , , , , , ,

cross-posted from http://blogs.loc.gov/law/2012/04/the-loch-ness-monster-zombies-and-the-law/ .

The Loch Ness Monster, Zombies and the Law

April 19th, 2012 by Clare Feikert-Ahalt

In a post last year, I looked at some of the United Kingdom’s weird laws.  I started to research a “part two” to that post, but ended up finding so much interesting (and yes, shockingly legal) information relating to the Loch Ness monster (commonly and affectionately referred to as “Nessie”) that I decided to dedicate an entire post to her instead.  (I will do another weird laws post soon, I promise.)
The first sighting of Nessie was allegedly in the sixth century.  This sighting was subsequently reported in the seventh century, when a writer stated that Saint Columbahad driven a water monster away from the Loch through prayer.  As the Scottish government notes, this prayer apparently wasn’t as successful as first thought, as there have been continued sightings of Nessie throughout the years.

Oliver Herford, “A horrible monster glared at them” (Illustration in “Mr. Rabbit at Home: A Sequel to Little Mr. Thimblefinger and His Queer Country” by Joel Chandler Harris, 1895) (Library of Congress Prints and Photographs Division, Reproduction Number LC-USZ62-94648)

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Vampire / Vampyre

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St. Michan’s Church Crypt, Dublin, Ireland
legendary inspiration for Bram Stoker’s Dracula

Vampires
A creature of lore, legend, folktale, and myth that is believed to be an undead human (human brought back from the dead) that either feeds on the blood or life force of living humans in order to survive. There is much controversy in the folkloric record on whether vampires either drank blood or just fed off the life energy of others. Some believe that “blood” is the best representation of “life essence” and is therefore what vampires need to survive. Vampires are mentioned and recorded in numerous cultures around the world, described in history as old as man him/herself. Older parallels of similar creatures in legend, such as the Old Russian “????? (Upir’)” seem to date much earlier at 1047 C.E. mentioned in a colophon in a manuscript of the Book of Psalms written by a priest who transcribed the book from Glagolitic to Cyrillic for the Novgorodian Prince Volodymyr Yaroslavovych calling him “Upir” Likhyi which translates to “Wicked or Foul Vampire”. Local and associated Pagan mythology suggests there was Pagan worship from the 11-13th centuries of “upyri”. There is mention of similar creatures throughout history in Greek mythology, Mesopotamian lore, Hebrew records, and Roman stories placing demons and spirits who fed on the life force of humans perhaps being the earliest vampires. Numerous world mythologies described demonic entities or Deities who drank blood of humans including Sekhmet, Lilith, and Kali. The Persians were the first to describe having blood drinking demons. Greek/Roman mythology spoke of the Empusae, the Lamia, the striges, the Gello, the strix, and the Goddess Hecate as demonic blood drinkers.
The documented case of Elizabeth Bathory who killed over 600 of her servants and bathed in their blood led to the reputation of her being a vampire. Same as with Vlad the Impaler of Count Dracula mythology of Transylvania who would impale his victims alive on upright stakes and would eat dinner while watching them suffer and slide down the poles in shrieks of torment. The Istrian (Croatia) 1672 legend of Giure Grando, a peasant who died in 1656, but was believed to have risen from the grave to drink the blood of the villagers and sexually harass his widow became a vampire-like legend. He was stopped by having a stake driven through his heart and then beheaded by the local village leader. Shortly after this legend, during the 18th century, a frenzy of vampire sighting in Eastern Europe went rampant including some notorious vampire hunting in Prussia (1721), Habsburg Monarchy (1725-1734), and the tales of Peter Logojowitz and Arnold Paole in Serbia.
Arnold Paole was a soldier who was attacked by a vampire. A few years later he became a farmer that died during harvest of his hay crop. He was buried and believed by the local villagers to be rising from the grave feeding off of them. The documented case of Plogojowitz, of a man who died at 62 only to return from the grave asking his son for food. Upon being turned down, the son was found dead the next day. Plogojowitz apparently had killed him as well as various neighbours by draining their blood. The Serbian tale of Sava Savanovic told of a man who lived in a local watermill that would kill the millers and drink their blood. This tale led to the creation of the 1973 Serbian horror film called “Leptirica”.
The term itself as “vampire” however was not utilized until the early 18th century during a time when vampire hysteria was rampant. The first use of the term “Vampire” came from a 1734 travelogue titled “Travels of Three English Gentlemen” published in the 1745 Harleian Miscellany according to the Oxford English Dictionary. The English term “Vampire” may have come from the french term “Vampyre” or the German term “Vampir”. These terms may have derived into the Serbian “??????/vampir”. During the early 18th century tales of vampires throughout Eastern Europe became rampant. Vampires were often associated as revenants of evil beings, suicide vicims, or witches; or from malevolent spirits possessing a corpse or being bitten by a vampire. It was during this time that the hysteria caused individuals, families, and communities to dig up the graves of suspected vampires and them mutilating the corpses, staking them, or conducting rites of exorcism. In 1718, after Austria gained control of northern Serbia and Oltenia, officials recorded local practices of exhuming bodies and “killing the undead”. Official recording of these practices from 1725 to 1732 led to widespread publicity of vampires. It was from this that led to many of the original vampire myths we have today that described vampires as either being in the form of a human, as a resurreced rotting corpse, or a demon-like creature roaming at night. Much of the hysteria was similar to the Witch Craze of the Inquisition. Neighbours would accuse the recently deceased for diseases, deaths, plagues, and tragedies that cursed the local village. Scholars at the time were steadfast that Vampires did not exist attributing the incidents to premature burials, rabies, or religion. However, the well-respected theologian and scholar Dom Augustine Calmet composed a 1746 treatise with reports claiming vampires did indeed exist. This was supported by Voltaire who claimed vampires were corpses who went out of their graves at night to suck the blood of the living, either at their throats or stomaches, after which they would return to the cemetery. This would lead the victim to wane, pale, and fall into consumption while the vampire would bloat, become fat, rosy, and become rejuvenated. They were disputed by Gerard van Swieten and the Empress Maria Theresa of Austria who passed laws prohibiting exhumation and desecration of bodies ending the vampire epidemics in Austria.
The “18th Century Vampire Controversy” or “Hysteria” gave birth to many fabricated myths and legends that lent stories about blood suckers evolving to the image we imagine of today when we think of “vampire”. Many of these images today come from writers, authors, and film. John Polidori’s 1819 novella “The Vampyre”, Bram Stoker’s 1897 novel “Dracula”, and the film “Nosferatu” are the main culprits for much of today’s image of a vampire, especially the pointed teeth, the sleeping in daylight, the drinking of blood, and sensitivity to sunlight. Stoker based much of his imagery and lore from former mythology of demons, faeries, and werewolves that he fit into the fears of late Victorian patriarchy. His book gave birth to a trend of vampire fandom that has lasted for over 100 years and still flourishing.
From Europe the vampire craze spread to parts of New England in the Americas, particularly Rhode Island and Eastern Connecticut. Paranoia and hysteria went rampant in the same manner as Eastern Europe’s 18th century Vampire Controversy. Documentation of cases with families accusing vampirism being the cause of the plague of consumption that devastated their communities. Families would dig up their dead to remove the hearts of suspected vampires. A very popular documented case was of the 1892 Rhode Island incident of Mercy Brown who died at age 19 of consumption, believed to be a vampire returning from the grave and feeding on her family and neighbours, was dug up by her father, had her heart cut out and burnt to ashes, only to be fed to her dying brother in attempts to save him from the rotting disease.
 


St. Michan’s Church Crypt, Dublin, Ireland
legendary inspiration for Bram Stoker’s Dracula

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